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• W3020712307 abstract "Reviewed by: El muerto disimulado / Presumed Dead by Ângela de Azevedo Lisa Vollendorf Ângela de Azevedo. El muerto disimulado / Presumed Dead. Edition by Valerie Hegstrom. Translation by Catherine Larson. Critical Introduction and Notes by Valerie Hegstrom and Catherine Larson. liverpool up, 2018. 327 pp ângela de azevedo is one of the many playwrights who has been rediscovered thanks to the rise of women's studies over the past few decades. Her work is stylistically sophisticated, linguistically nimble, and often witty. Author of three extant plays, Azevedo has enjoyed somewhat of a renaissance as more editions of her work appear both in their original Spanish and in English translation. Valerie Hegstrom and Catherine Larson have published an extraordinary bilingual edition of Azevedo's El muerto disimulado/Presumed Dead. The side-by-side Spanish and English format of the edition enables instructors to teach the play in a variety of instructional settings, including in language, literature, and performing arts classes. The bilingual edition has the added benefit of footnotes that clarify linguistic and cultural references in the text. As is the case with many women writers of the period, little is known about Azevedo's life. Hegstrom and Larson ably situate her work within the context of seventeenth-century Iberian history. More than most other scholars, they underscore Azevedo's Portuguese roots and ground her literary production within the cultural context in which she lived and wrote. They also resist the temptation to invent or impose biography where no facts exist. Teachers of literature and history will appreciate this attention to historical evidence as it provides an opportunity for students to explore the extent to which many women writers' biographies have been constructed from conjecture rather than from evidence. [End Page 203] Hegstrom and Larson have an established record of successful collaboration, and the seamlessness with which they work as a team is readily apparent in this volume. They are both highly accomplished scholars with experience working in both Spanish and Portuguese. As such, this volume will occupy a special place in the classroom and in the literature for years to come. The visual representation of the play's twelve cuadros (or scenes) (38–41) provides a useful starting point for readers and performers: while early modern theater did not contain scene divisions per se, the narrative flow of the plays depended on these discrete implicit divisions of the action. This is one of many examples throughout the edition of Hegstrom and Larson's depth of experience as scholars, translators, and true specialists of comedia. The volume presents theater both as literature and as performative text. The introduction demonstrates their depth of experience with comedia performance, which in turn informs both the translation and the presentation of the explanatory footnotes throughout. The notes will be appreciated by students and experts alike, as the explanations illuminate cultural references, linguistic anomalies, and source text variations. Moreover, the notes help the text stand alone: they illuminate nuances that will help students in particular approach and understand the text in full. Larson's Translator's Note (71–78) provides critically important information about her philosophy and approach. This note should be read by anyone reading or performing the translation, as it highlights the originality of the original Spanish and justifies her choice to translate the original verse into English-language prose. I admit that this is not my personal preference for comedia translations, as prose versions of these plays tend to be flatter, slower, and often less witty than the originals. Here, however, Larson proves that prose can be the right choice for comedia translation if it is done in the right way. In fact, Larson's capable, dynamic rendering of the play in English won me over almost immediately. She has a particularly light touch with humor and an able ear for contextualizing the translation so it sounds like early modern theater without being too forced or stilted. In some cases, Larson chooses to leave the original Spanish rather than attempt translation. This choice will be less than satisfying for performers, who may need to make modifications when presenting to English-speaking audiences. For example, the gracioso Papagayo has word play around his name, which..." @default.
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• W3020712307 date "2019-01-01" @default.
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• W3020712307 title "El muerto disimulado / Presumed Dead by Ângela de Azevedo" @default.
• W3020712307 doi "https://doi.org/10.1353/boc.2019.0013" @default.
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