My dissertation, “Donne sulla soglia: A Critical Translation of Fourteen Prologues from the Plays of Giovan Battista Andreini and Domenico Bruni’s Fatiche comiche (1623),” investigates proto-feminism in Counter-Reformation Italy through various critical lenses and original translations of comedic prologues published between 1611 and 1627. My translations of four prologues in defense of women from Domenico Bruni’s Fatiche comiche, nine prologues from the comedies of Giovan Battista Andreini—three of which are authored by Giovan Paolo Fabri— and Andreini’s La Ferza: his defense of the actress, invite a discussion of male-authored defenses of women in the commedia dell’arte tradition by taking the paratextual instrument as my object of analysis. The theory and practice of translation further informs my project, which opens with an extensive critical introduction, while the resulting bilingual text doubles as a valuable resource for students and scholars of early modern Italian theater, gender and women’s studies, and Renaissance studies more broadly. Situated within the larger context of the querelle des femmes—a European literary, social, and cultural debate concerning women’s merits and their place in society—the theater in Counter-Reformation Italy occupies a unique place within this literary and theater history. It is simultaneously the site of an unprecedented leap in women’s agency through performance and a relentless effort by the Church to censor theatrical productions. As I argue, while the defense of women in this context was, on the one hand, a defense of comedy itself, the genre’s classical roots as rhetorical apologia anchor what Anne MacNeil identifies in Music and Women of the Commedia dell’Arte in the Late Sixteenth Century as the “central precept of the commedia dell’arte,” which is “the invocation of classical reasoning in order to justify women’s expression” (2). In the Counter-Reformation, male and female actors and authors of comedy manipulated classical models in order to navigate the complexities of religious tensions and shifting cultural norms, all grappling with the rapid, public unification of the actress with her own voice. My project traces the formation of female subjectivity from Renaissance literature to Baroque theater by analyzing and contextualizing this strategic use of classical reasoning in seventeenth-century comedic prologues. My critical introduction weaves genre, historical context, and methodology through the lens of a single prefix: para-. The paratext, which literary theorist Gérard Genette explores in Seuils (Paratexts) (1987), hinges on the Greek root of para-, meaning “beside,” “alongside,” “apart from,” or “beyond.” The prologue, as paratext, sits at the threshold between the world of the play and the “real” world: a concept Andreini explores in his prologue to La Centaura. An investigation of male-authored defenses of women within the context of commedia dell’arte and the rise of Italian improvised theater, which is indebted to actresses and their education as “meretrices honestae,” or “honest courtesans,” invokes a discussion of paradox. This trope, which appears in the Petrarchan verse of famed actress Isabella Andreini, becomes a way for the actress to gesture beyond patriarchal constructs of the feminine through performance. As I conclude, the threads of paratext and paradox form a lens through which to understand prologue as the threshold of identity formation—that the thing located “beside” becomes, in the Baroque, through a deconstruction of the “real,” the thing that gestures “beyond.”