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Acknowledgments ix
Introduction xi
part i. Background
chapter 1
On drama translation 3
1.1 The “cultural turn” and the translation of drama 3
1.2 Constraints and peculiarities of translating theatre 7
1.2.1 The choice of language 8
1.2.2 The singularities of theatre translation 15
1.2.2.1 Phonology 16
1.2.2.2 Syntax 17
1.2.2.3 Non-verbal: gestures 18
1.2.2.4 Other stage components 19
1.2.2.5 Factors peripheral to performance 21
1.2.2.6 Translation and culture 22
1.2.2.7 The figure of the translator 26
1.2.2.8 Translation or adaptation? 28
chapter 2
The translation of the Spanish classics in Restoration England 35
2.1 Drama translation theory in seventeenth-century England 35
2.2 The reception of Golden Age Spanish comedies 39
2.2.1 The Hispanic presence in English theatre: 1600–1642 40
2.2.2 The Interregnum (1642 -1660) 48
2.2.3 The Restoration period: historical and cultural context 50
2.2.4 English Restoration drama 53
2.2.5 Spanish comedies and Restoration theatre 55
part ii. Spanish comedias in English translation (1660–1700)
chapter 3
Translators and translations 63
3.1 The trouble with the sources 63
3.2 Translators and plays 79
3.2.1 The translators 80
3.2.2 The plots in source and target texts 83
3.2.3 The list of characters 90
3.2.4 The translation of titles 96
3.3 The structure of the translated plays 101
3.3.1 The division of the action 101
3.3.2 The three unities: action, place and time 108
3.3.3 The treatment of verse 119
3.3.4 The stage directions 127
3.3.5 Prologues, epilogues, letters and songs 136
chapter 4
Extralinguistic factors 149
4.1 Rhythm and versification 150
4.2 The relevance of gesture 152
4.3 Theatre building and stage components 158
4.4 Factors peripheral to performance 167
4.5 The translators’ profiles 173
4.6 The influence of dramatic culture 176
chapter 5
Culture 179
5.1 The translation of proper nouns 179
5.1.1 Anthroponyms 181
5.1.2 Toponyms 197
5.2 The translation of cultural references 204
5.2.1 Culture-specific items 205
5.2.2 Other cultural references 212
chapter 6
The translation of the typical comedia motifs 219
6.1 Humour 219
6.1.1 Stage comicicity 223
6.1.1.1 Paralinguistic and stylistic elements 224
6.1.1.2 Gesture 233
6.1.1.3 Proxemics 240
6.1.1.4 Stage space and scenography 242
6.1.1.5 Costume 244
6.1.1.6 Makeup and hairstyle 248
6.1.1.7 Figures of ridicule 249
6.1.1.8 Props 255
6.1.1.9 Music and song 259
6.1.1.10 Lighting 261
6.1.1.11 Rupture of the stage illusion 263
6.1.2 Textual comicity 267
6.1.2.1 Wordplay 267
6.1.2.2 Comic neologisms 275
6.1.2.3 Repartee 277
6.2.1.4 Double entendre 281
6.1.2.5 Asides 283
6.1.2.6 Miscellaneous 286
6.2 Love and women 289
6.3 Honour 299
6.3.1 Honour as reputation 301
6.3.2 Honour as social rank 304
6.3.3 Honour as a synonym of chastity 305
afterword
The comedia revisited: New challenges in the twenty-first century 309
References 313
a. Play editions 313
b. Other editions 313
c. General Bibliography 313
d. Dictionaries 325
Index 327
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