Dream-a-turgy: New Tools for Translating, Staging, and Contextualizing La vida es sueño


Dramaturgs share hands-on experiences with taking Calderón’s classic off the page, into class, and onto the stage, sparking discussion and challenging rediscoveries.


Bruce Burningham,
performance theorist

Rachel Katz Carey,
freelance dramaturg and director of the world premiere of Rick Davis’ translation

Rick Davis,
translator of Calderón de la Barca: Four Great Plays of the Golden Age

Alejandra Juno Rodríguez Villar,
director of a cyberpunk La vida es sueño at Duke University

Ben Gunter,
artistic director of Theater with a Mission

Hugh K. Long,
fight choreographer

Jason Yancey,
archivist for the world’s largest video library of Calderón in performance

Susan Paun de García,
President of the Association for Hispanic Classical Theatre and respondent

Likely topics for discussion:
(Click to navigate to page, then click on EDIT to post. SAVE before exiting.)

> What translations of the play are likely to speak most clearly to students, actors, and producers? How and why?

> How do radical adaptations of the play -- e.g., Rivera's Sueno and Solis' Dreamlandia -- shed light on Calderon?

> How do Spanish refundiciones or responses to La vida es sueno enhance a dramaturg's approach to teaching, critiquing, and staging this classic?

> What does production history (esp. recent production history in Spanish) show about the play's stageworthiness, and about its staging challenges?

> How can dramaturgs unpack the play's complex treatment of gender and justice?