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Comedy and Crisis features the first ever scholarly English translation of two plays by the eighteenth-century Dutch playwright Pieter Langendijk: Quincampoix, or the Wind Traders [Quincampoix of de Windhandelaars], and Harlequin Stock-Jobber [Arlequin Actionist]. Both plays were occasioned by the financial speculation in England, France, and the Netherlands in 1719-20. In the Netherlands the speculative activity was referred to as a windhandel or wind trade. The first play is a full-length satirical comedy, and the second is a short, comic harlequinade; both were performed in Amsterdam in the fall of 1720, as the speculative bubble in the Netherlands was bursting. Comedy and Crisis also contains a translation of the extensive apparatus (introduction and notes) prepared by the scholar C.H.P. Meijer for his 1892 edition of these plays. The current editors have updated the footnotes and added six new critical essays by contemporary literary and historical scholars that contextualize the two plays historically and culturally. The book includes an extensive bibliography and index. The materials assembled in Comedy and Crisis are a rich resource for cultural, historical, and literary students of the history of finance and of eighteenth-century studies.

This two-volume edited collection illuminates the valuable counter-canon of Irish women’s playwriting with forty-two chapters written by leading and emerging Irish theatre scholars and practitioners. Covering three hundred years of Irish theatre history from 1716 to 2016, it is the most comprehensive study of plays written by Irish women to date. These short chapters provide both a valuable introduction and innovative analysis of key playtexts, bringing renewed attention to scripts and writers that continue to be under-represented in theatre criticism and performance. Volume One covers plays by Irish women playwrights written between 1716 to 1992, and seeks to address and redress the historic absence of Irish female playwrights in theatre histories. Highlighting the work of nine women playwrights from the eighteenth and nineteenth centuries, as well as thirteen of the twentieth century’s key writers, the chapters in this volume explore such varied themes as the impact of space and place on identity, women’s strategic use of genre, and theatrical responses to shifts in Irish politics and culture.

This two-volume edited collection illuminates the valuable counter-canon of Irish women’s playwriting with forty-two chapters written by leading and emerging Irish theatre scholars and practitioners. Covering three hundred years of Irish theatre history from 1716 to 2016, it is the most comprehensive study of plays written by Irish women to date. These short chapters provide both a valuable introduction and innovative analysis of key playtexts, bringing renewed attention to scripts and writers that continue to be under-represented in theatre criticism and performance. Volume Two contains chapters focused on plays by sixteen Irish women playwrights produced between 1992 and 2016, highlighting the explosion of new work by contemporary writers. The plays in this volume explore women’s experiences at the intersections of class, sexuality, disability, and ethnicity, pushing at the boundaries of how we define not only Irish theatre, but Irish identity more broadly.

The Theatrum Mundi metaphor was well known in the Golden Age, and was often employed, notably by Calderón in his religious theatre, although little account has been given of the everyday exploitation of the idea of the world as stage in the mainstream drama of the Golden Age. This study examines how and why playwrights of the period time and again created characters who dramatize themselves, re-inventing themselves by performing new roles and inventing new plots within the larger frame of the play. The prevalence of metatheatrical techniques among Golden Age dramatists, including Lope de Vega, Tirso de Molina, Calderón de la Barca and Guillén de Castro, reveals a fascination with role-playing and its implications. The author argues that in comedy, these playwrights saw role-playing as a means by which they could comment on and criticize the society in which they lived, and reveals a drama far less supportive of the social status quo in Golden Age Spain than has been traditionally thought to be the case.