Abstract
The essay gives an account of all the stagings of Lope de Vega’s El castigo sin venganza, from its debut in 1632 to 2014, both in Spain and abroad. The representations of the piece are gathered in the both the professional and school fields, paying special attention to the productions in the Performing Arts Schools and universities. We analyse the signs that intervened in the most praised productions, from the cast to the scenery, costumes, music, text version and dramaturgical reading of the director, commenting on the circumstances of each premiere and its subsequent impact, as well as the critical apparatus that accompanied it. The study of the scenic fortune of this fundamental pillar of our Golden Era drama opens an interesting field of investigation that relates literary-dramatic text and theatrical praxis, and allows us a deeper understanding of the theatrical phenomenon as artistic expression and also as a product subject to the tastes of the public.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
