Studies on Spanish Poetry in Honour of Trevor J. Dadson: Entre los Siglos de Oro y el siglo XXI by Javier Letrán and Isabel Torres

Abstract

MLR, .,   as regards the figure of Calisto as inept courtly lover—has influenced numerous interpretations. e social realism of José Antonio Maravall’s work was similarly important for many productions from the s and s. It took international stagings by Jeanne Moreau (France), Robert Lepage (Spain and Italy), and Calixto Bieito (Edinburgh) to really set the ball rolling, and there was a veritable explosion of versions in the noughties and teens, especially among those small local theatres and travelling troupes in Spain that specialize in making set texts for the baccalaureate more accessible for students. Before that happened, the daunting and sexually quite explicit text was adapted very infrequently, and the fairly successful  version was not followed by another attempt until aer the Civil War in . A long silence followed again until the Franco period was nearing its end and liberalizing somewhat. Huberto Pérez de la Ossa and Luis Escobar’s version of – was popular in the early s, and Alejandro Casona’s adaptation had legs in the mid to late s. But it was not until the post-Franco era of the Movida that the sexual components of the plot were exploited, on screen in particular. Ángel Facio’s version, first staged in Bogotá, toured Spain in the early s, and Gonzalo Torrente Ballester was responsible for a key adaptation later in the decade. Although critics slammed the text used for the Lepage version (effectively a retranslation of a French adaptation), it was beautifully staged, as can be seen in a number of colour plates reproduced in this book. At the time of writing, the last major touring production of La Celestina was by Ricardo Iniesta (–), which might still find an audience in what we hope will be the post-Covid landscape. Luckily for scholars but not for practitioners, manuscripts that passed through the Francoist censorship apparatus were oen archived. Bastianes gives us masses of information about textual versions, actors, staging, and costumes, as well as critical reception of the main Spanish productions. Photographs are reproduced, and reviews summarized and contextualized. She has also placed the versions within the framework of the literary criticism of their time. Appendices give us a full account of the travels of the main productions, as well as actors and staging information. ere is a full bibliography and an index. All in all, this is a must-acquire for dedicated celestinistas. U  L D S S Studies on Spanish Poetry in Honour of Trevor J. Dadson: Entre los Siglos de Oro y el siglo XXI. Ed. by J L and I T. Woodbridge: Tamesis. . vii+ pp. £. ISBN ––––. is volume is a fitting tribute to the late Trevor J. Dadson (–), one of the most remarkable Hispanists of our time and ‘a maestro for the present and future generations’ (p. ). e twelve studies in this Festschri—by former students, colleagues , and friends from the UK, Ireland, Spain, and the USA—approach Spanish poetry from the Golden Age to the present, mirroring the way Dadson articulated  Reviews his academic career around Spanish early modern and contemporary poetry. e chronologically ordered studies are an acknowledgement of ‘the honoree’s most crucial contributions to knowledge’ (p. ), but they also aim to build on Trevor Dadson’s research with the enthusiasm and scholarly rigour he inspired in students and colleagues alike. e approaches to Spanish poetry range from New Lyric Studies, close textual analysis, comparative literature, and intertextuality to philosophy , critical theory, and sociology (again echoing Dadson’s contributions—listed in an appendix of the volume—which encompassed biographical studies, edited texts, scholarship on textual editing and book ownership, and studies of poetic production). e editors pay touching homage to Dadson in the Introduction. e maestro ’s former students outline his biography and academic achievements while also providing comprehensive abstracts of the contributions to the collection, stressing how they ‘enhance understanding of the wide spectrum and innovation of the original research’ (p. ). ‘Voicing Time: e Temporal Textures of Garcilaso de la Vega’, by Isabel Torres, is the first of six chapters looking at Golden Age poetry, and it incisively considers lyric as ‘genre’ and ‘mode’ through her disengagement from New Lyric Studies. ‘Luis de Le...