“Miss Spain in Exile”: Isa Reyes’ Escape from the Spanish Civil War

rehearsal” (118, 126) when “dress rehearsal” is meant; “a contextual approach that makes emphasis on” (138). And why does a book referring to theatre productions (at times to their appearance) not have any visual illustrations? By locating Lorca’s plays within Spanish theatre history, their reception, and discussing possible influences on them, P erez-Sim on has done much to challenge accepted critical views. However, such contextualization often comes at the expense of detailed textual analysis. (In Chapter 2, the imbalance is striking.) Yet Baroque Lorca is constantly stimulating and, in a scholarly way, provocative. It is a serious contribution to the critical literature on Lorca’s theatre and will surely form a fruitful starting point for future studies.