Abstract Between 2002 and 2007, numerous excellent performances of Spanish Golden Age plays, staged by sundry national and international companies were represented at the Chamizal National Memorial. Among them were Pedro Calderón de la Barca’s La hija del aire; María de Zayas’ Friendship Betrayed (1999), an English translation of La traición en la amistad; Miguel de Cervantes’s El cerco de Numancia; and Tirso de Molina’s The Trickster of Seville (1994), an English translation of El burlador de Sevilla. These works were highly successful and demonstrated the capacity of a border town, as well as of a national and international audience, to appreciate high quality works ranging from tragedy to the eschatological. In effect, the common language of these works was that of the theater at its best.
A. Robert Lauer (Fri,) studied this question.
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