There will be van service to and from the Chamizal before and after the performances. Vans will leave the hotel at 6:30 p.m.

The AHCT cordially invites you to its hospitality room each night after returning from the theater.

Céfalo y Pocris
Calderón de la Barca

Compañía Puerta de Menelía (Tepepan Xochimilco, México, D.F.)

Emma Dib, director

Session I (Kohlberg)
Chair: Nelson López (Bellarmine University)

Baltasar Fra-Molinero (Bates College)

     Nicolás de los Ríos, actor negro

David J. Hildner (University of Wisconsin-Madison)

     Rehearsing for Martyrdom in Lope de Vega’s Lo fingido verdadero

María Esther Castro de Moux (United States Naval Academy)

     Lo fingido verdadero: Actores y actuación en una tragicomedia de Lope

 Alejandro González Puche (Universidad del Valle)

     Principios interpretativos en el teatro del Siglo de Oro

Lucas Marchante-Aragón (College of William and Mary)

     Incorporating Performance to the Teaching of Golden Age Drama

Mindy E. Badía (Indiana University Southeast)

     Teaching, Learning, and La dama boba

Bonnie Gasior (California State University, Long Beach)

     Staging Don Quijote: La última aventura: Bridging the Early Modern and the Present

Jason Yancey (University of Arizona)

     Professor de Vega’s Pedagogical Model: The New Art of Teaching the Comedia

Dale J. Pratt (Brigham Young University)

     “Desde mochacho fui aficionado a la carátula”: Don Quijote and Lope’s Las cortes de la muerte

Valerie Hegstrom (Brigham Young University)

     “Loco el que su hacienda emplea donde se puede perder”: Las cortes de la muerte in Don Quijote

Angel Sánchez (Arizona State University)

     Del uso del espacio y sus significados en la representación de El gran teatro del mundo

Ysla Campbell (Universidad Autónoma de Ciudad Juárez)

     El erasmismo en algunas obras dramáticas de Tirso de Molina

Anthony J. Grubbs (Michigan State University)

     Riding on the Back of a Giant: Two Dramatic Representations of the Saint Christopher Legend in Early Modern Spain

Anayanci Murphy (Arizona State University)

     Queerness en la comedia hagiográfica: Los lagos de San Vicente de Tirso de Molina

Chad M. Gasta (Iowa State University)

     Imperial Discourse and Propaganda in the First Spanish Operas in the New World           

Susan Paun de García (Denison University) and Nena Couch (The Ohio State University)

     Dance as Structural Metaphor: L'Aimable Vainqueur in Cañizares’s Juana la Rabicortona (1741)

Donald R. Larson (The Ohio State University)

     José de Nebra and the Final Flowering of the Baroque Zarzuela

Christopher D. Gascón (State University of New York College at Cortland)

     Duality in Teatro del Valle’s El condenado por desconfiado (2003)

Christopher Weimer (Oklahoma State University)

     “The Only Life There Is”: José Rivera’s 1998 Adaptation of La vida es sueño

Laura L. Vidler (United States Military Academy)

     The AHCT Video Archives: 25 Years of El caballero de Olmedo

Matthew D. Stroud (Trinity University)

      Text, History, Theory, Performance, Interpretation: The Evolution of Comedia Criticism over the Years

Shirley  B. Whitaker (Emerita, University of North Carolina, Greensboro)

       “La fragua de Vulcano” of Velázquez and an Entremés by Quiñones de Benavente

William R. Blue (The Pennsylvania State University)

       Affective Response, or Why Plot Matters in Quevedo’s Como ha de ser el privado

Ezra S. Engling (Texas A&M International University)

       Calderón, the Honor Code and the Moors in La niña de Gómez Arias

Gwyn E. Campbell (Washington and Lee University)

       The Soldiers of Their Dis/Honour in Juan Grajales’s El bastardo de Ceuta

Robert M. Johnston (Northern Arizona University)

       Calderón’s A secreto agravio, secreta venganza: The Problematic of Authorship and  Aesthetic Experience in the Comedia

El astrólogo fingido
Calderón de la Barca

Grupo de Creación e Investigación Teatro del Valle (Calí, Colombia)

Alejandro González Puche, director.

Session IX (Pancho Villa)
Chair:  Dale J. Pratt (Brigham Young University)

Bruce R. Burningham (Illinois State University)

     Singers of Tales on Simple Stages

Sonia Llacer-Arrastia (University of Montana)

     Del teatro a la novela: Lope de Rueda y la teatralidad en la narrativa de María de Zayas

Esther Fernández (Grinnell College)

     Los corrales de comedias en el siglo XVII: laboratorios de sensualidad clandestina

Ignacio López (Duke University)

     Después de la fiesta. El negocio del despojo

Ellen C. Frye (William Paterson University)

     Multiple Metatheatrical Situations in Tirso de Molina’s El vergonzoso en palacio

Robert L. Turner III (Shorter College)

     Love, Politics and the Defenestration of Prague: The Ups and Downs of El celoso prudente

Amanda Meixell (Susquehanna University)

     The Untold Store of Merlin and Libia in Calderón’s La estatua de Prometeo

Session XI (Kohlberg)
Panel: Anxieties of Empire: Queer Readings of Comedia Texts, I

Moderator : María M. Carrión (Emory College)

Participants: 

Margaret Boyle (Emory University)

     Subject to Stage:  Woman, Court, and Metatheater in María de Zayas’ La traición en la amistad

John Beusterien (Texas Tech University)

     Francisco de la Torre Sevil’s La confesión con el demonio: The Black Madonna and the Iberian Imperial Fantasy

José Cartagena Calderón (Stanford University)

     Maurofilia y otredad masculina en La envidia de la nobleza de Lope de Vega

Julio González Ruiz (Spelman Collage)

     Matrimonios queer en el Siglo de Oro y en la España contemporánea: de La boda entre dos maridos de Lope de Vega (1595) a la política del presidente Rodríguez-Zapatero (2005)

El arte de danzado: Court and Theater Dances of the Early Modern Period

Presenter: Nena Couch (The Ohio State University)

Session XIII (Kohlberg)

Panel: Anxieties of Empire: Queer Readings of Comedia Texts, II

Moderator :   Harry Vélez Quiñones (University of Puget Sound)

María M. Carrión (Emory College)

     Queering Marriage in Miguel de Cervantes’s El entremés de los divorcios 

Carmen Pereira-Muro (Texas Tech University)

     “Yo no soy amigo de figuras rebozadas”: engaño y género sexual en el entremés de El viejo celoso

Peter Thompson (Queen’s University )

     Quiñones de Benavente’s Guardainfante I and II : Juan Rana’s Double Take and “Redress”

Harry Vélez Quiñones (University of Puget Sound)

     “Templa, pequeño joven, templa el brío”: Pretty Boys and Queer Soldiers in Miguel de Cervantes’s Numancia

1:30-2:00

Jeannine Montauban (The University of Montana)

     El retrato como síntoma y representación en el teatro de Ana Caro y María de Zayas

Jonathan Wade (Vanderbilt University)

     The Code of Subversion: Angela de Azevedo’s Literary Revolt

Jonathan Ellis (Oklahoma State University)

     Royal Obligation and the “Uncontrolled Female” in Ana Caro’s El conde Partinuplés

Session XV  (Pancho Villa)

Chair: Christopher Weimer (Oklahoma State University)

1:30-2:00

Maryrica Ortiz Lottman (University of North Carolina, Charlotte)

     Saint Christopher in Lope’s El nuevo mundo descubierto por Cristóbal Colón

2:00-2:30

Benito Quintana (University of Hawaii at Manoa)

     Deceit, Desire, and the Conquest of Chile in Gonzáles Bustos’s Los españoles en Chile, Fernando de Turia’s La bellígera española, and Gaspar de Ávila’s El gobernador prudente

2:30-3:00

Daniel Minerbi Vargas (Arizona State University)

     Imágenes etnográficas sefardíes e indígenas yuxtapuestas y opuestas en las obras de Lope Félix Vega Carpio y Pedro Calderón de la Barca

Chair: Isaac Benabu (The Hebrew University of Jerusalem)

Participants

Catherine Connor (University of Vermont)

     Creative Cognition for Comedia Staging

James A. Parr (University of California, Riverside)

     Canon and Kind in Relation to Performance and Reception

Teresa Scott Soufas (Tulane University)

     Performing Woman: Sightings on the Stage of Angela Azevedo

Director: Paco Ramírez (University of California, Santa Cruz)         

La dama duende
Calderón de la Barca

Teatro Gayumba (Santo Domingo, República Dominicana)

Manuel Chapuseaux, director

María José Domínguez-Sullivan (Arizona State University)

     Combinaciones de lenguaje/ropaje en la comedia El  muerto disimulado de Angela de Azevedo

Robert Bayliss (University of Kansas)

     Intervening Women : Dramaturgos, Dramaturgas, and the Question of Feminism in Early Modern Spanish Comedy

Sharon Voros (United States Naval Academy)

     Playing Soldiers in Leonor de la Cuevas’ La firmeza en la ausencia

Eric Kartchner (Colorado State University-Pueblo)

     El curioso impertinente: Drama and Metadrama in Cervantes and Guillén de Castro

Reyes Caballo-Márquez (Georgetown University)

     Cuerpos imaginados, cuerpos representados, cuerpos involucrados: La experiencia receptiva de El viejo celoso en el universo femenino

Julia Domínguez (Iowa State University)

     El trato de Argel y el teatro como metáfora de la mente cervantina 

Kerry Wilks (Wichita State University)

     Aragonese Treasures: In Search of Baltasar Funes y Villapando

Shifra Armon (The University of Florida)

     Two Faces of the Courtier in Lope’s La cortesía de España

Ted Bergman (California State University, Fresno)

     Breaking Structure, Decorum, and Other Things in the Comedia de Valiente

John Jay Allen

The World of the Comedia: Playhouses, Audiences, Performance, Actors, Economics

John Jay Allen, Professor Emeritus of Spanish at the University of Kentucky, is author of Don Quixote: Hero or Fool? and The Reconstruction of a Spanish Golden Age Playhouse: el Corral del Príncipe (U. of Florida), and editor of the Cátedra edition of Don Quijote, revised and updated for the centennial in the 25^th edition (2005).  He was the first editor of Cervantes. Bulletin of the Cervantes Society of America, and is a past President of the Society.  Professor Allen is co-author, with José María Ruano de la Haza, of Los teatros comerciales del siglo XVII y la escenificación de la comedia (Castalia) and co-editor, with Domingo Ynduráin, of Calderón's El gran teatro del mundo (Crítica).  In 2004 Cátedra published Don Quijote en el arte y pensamiento de Occidente, by Professor Allen and his wife, Patricia Finch.  Anaya chose the book to redesign and reissue as their numbered Christmas edition for 2004.  A Wisconsin PhD, Professor Allen was awarded an honorary doctorate in 2004 from Middlebury College, where he had received his MA in 1957.

Don Juan, The Trickster of Seville
Tirso de Molina, translated by Dakin Matthews

Andak Stage Company (N. Hollywood, California)

Anne McNaughton, director