Abstract
relation has been established between the theatricalization of punishment and terror and the torture scene in Act 3 of Fuente Ovejuna, when the pesquisidor comes, in the name of the Catholic Monarchs, to discover the identity of Fernin G6mez's killers: Monarchs, or in this case the pesquisidor, serve as the 'dramatist,' the torturer or executioner and the villagers become the 'actors,' and the rack the 'stage' (Blue 307). The carnival of terror, however, does not dominate solely the climactic offstage representation of public torture and collective resistance; it permeates the entire performance experience of Marsillach's rendition of the play, from the moment of the audience's entry into the theatrical space until its final exit some one hundred thirty
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