Drumm (Spanish and humanities, Reed College, Oregon) describes how some Spanish dramatists, typically themselves painters as well, use a variety of techniques, to stage a painting or series of
paintings, thereby staging the central tension between visual images and language that is inherent in all theater and predominant in 20th-century plastic art. Her topics include ekphrasis in
Valle-Incl獺n's Comedias b獺rbaras; the stage enframed in Rafael Alberti's Noche de guerra en el Museo del Prado; the painting absent from Buero Vallego's Las Meninas; Goya's monstrous
imagination in Vallejo's Sue簽o de la raz籀n; Guernica on stage by Arrabal, L籀pez Mozo, and Torres Monreal; and painting, performance, and theatricality in Paloma Pedrero's El color de agosto.
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