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Reviews283 the dramatists who wrote them (assuming that we could ascertain what those dramatists intended)? How should we determine the value of contemporary interpretations —readings—designed to appeal to a public that may have minimal knowledge of classical theater or minimal interest in museological stagings? Would Lope or Calderón consider as "good theater" performances that engage an audience, even on levels that the academic community might find unusual unappealing, or historically inaccurate? However the reader may respond to these questions and to the many are that Ruiz Ramon's essay generates , we would all undoubtedly agree that his remarks are provocative in the best sense of the word. The growth of the Spanish Compañía Nacional de Teatro Clásico and the continued offerings of the Chamizal Siglo de Oro theater festival have made increasing numbers of us "performance literate," and as a result, we are spending more time talking about issues related to the performance of classical theater. The last major section of the book ("El teatro clasico, hoy"), featuring Ricardo Domenech, Adolfo Marsillach, and José Luis Pellicena, presents a fascinating look at the way theater people think about their craft. Their insights and perspectives make this brief section one of the most stimulating of the collection. In Actor y técnica de representación del teatro clásica español, Diez Borque has united twelve essays covering a wide range of approaches to the staging of classical theater. The variety and general quality of the collection make it easy to recommend: this is a valuable contribution to the field. Catherine Larson Indiana University Paterno, Salvatore. The Liturgical Context of Early European Drama. Potomac, Scripta Humanística, 1989. Paterno's book is number 56 in the Scripta Humanística series, published under the direction of Bruno Damiani. Although no such claim is made, The Liturgical Context of Early European Drama may be considered another source for guidance as we seek to understand the missing links in the development of Spanish drama. The author's point is that while the early Christian church actively discouraged its members from viewing the suggestive elements and violent conflicts of Greek and Roman drama and other spectacle—especialy those held on pagan festival days—that same early Christian church was gradually encourag- 284BCom, Vol. 44, No. 2 (Winter 1992) ing the drama through its attention to responsive readings, assigned prayers, carefully planned rituals for special occasions, and even gestures (3; 76). Scriptural and patristic texts are cited, the latter beginning with Tertullian and Cyprian. Here is a major service provided by Paterno: he translates the many Latin texts into an English which is usually clear and readable, if not always smooth. The table of contents, in highly useful form and detail, offers at a glance not only the topics studied (reconciliation of penitents, dedication of churches, coronation of rulers, and monastic influences), but also the ancient writers cited (Tertullian, Cyprian, Athanasius, Augustine and many others). Among these are several citations of interest to students of the Spanish drama: the 305 AD Council of Elvira (29-30), the 589 Council of Toledo (31), St. Isidore (31-32), and Julian of Toledo (108-09). Suggested as a possible inspiration for the pasos of later centuries is the procession described by Egeria late in the fourth century (62). A commemoration of Jesus' presentation at the temple, traditionally held 40 days after Epiphany, evidently included a procession to the Church of the Resurrection. It is probably true that "the raw material here is the nucleus, the bare essentials from which will develop the intricate pageants of the Middle Ages," but it is not so easy to agree that "here one can almost visualize the development of this Gospel text into the more elaborate Mystery Plays" (62). Of interest concerning the development of Spanish drama is the GoodFriday service for penitents in seventh-century Toledo. This portion of the Mozarabic ritual, often mentioned but seldom described, reveals a compelling "dialog" between clergy and penitents (78-79). The anointing of King Wamba in 672, accompanied by an intriguing miracle, is described by Julian of Toledo (108-09). Still other details from Toledo and its Mozarabic rite are gleaned from...

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