This is the first critical study to assemble a corpus of Spanish melodrama, sketch a precise definition of the term through a reading of these works, and perform a comprehensive study of the genre's local history. It chronicles how, through the work of Jose Echegaray, the most famous playwright of the late nineteenth century, melodrama (until then a mass-culture product) infiltrates "serious" theater and becomes the dominant model of all dramatic creation.

Aesthetically, Echegaray's plays claim a kinship with prestigious theatrical forms like Golden Age theater and tragedy; ideologically they purport to defend revolutionary tenets like nascent feminism while reaffirming in fact a traditional, bipolar, and conservative worldview.

This movement of "impersonation" makes Echegaray's work into the essence of the dramatic, and Rewriting Melodrama demonstrates how other playwrights necessarily grapple with the horizon of expectations it creates. On the one hand, the book details the character of the melodramatic "school," including authors like Eugenio Selles, Leopoldo Cano, Jose Feliu y Codina, and Joaquin Dicenta, who take up and advance the form and ideology of the Echegarayan model.

On the other hand, Rios-Font explores the varying success of new alternatives posed by playwrights seeking a regeneration of Spanish theater.

The interesting experiments of Enrique Gaspar, Benito Perez Galdos, and Jacinto Benavente are thoroughly analyzed, as is the parodic and metatheatrical reformation of melodrama posed by Ramon del Valle-Inclan.

Rewriting Melodrama keenly reveals the importance of melodrama as the link of continuity between the nineteenth-century authors and works commonly studied and those forgotten or rejected, and it highlights the genre's own hole in triggering the aesthetic challenges that open the door to twentieth-century Spanish theater.