Amongst the numerous interpretations of El médico de su honra, Adolfo Marsillach’s adaption stands out for respecting the original ambiguity of the work through elements such as minimalism, timelessness, a psychological interpretation, and the inclusion of four anonymous characters as observers of a crime which is described in a cold and neutral way. In 2012, the veteran company Teatro Corsario, with Jesús Peña in charge, on its part, stages the calderonian play and eliminates its ambiguity: during the last seconds, Leonor seeks vengeance for the unfair death of Mencía by stabbing Don Gutierre. The present article analyses the conceptual implications of this drastic change by comparing the two adaptions with the aim of deducing different ideological models.
Abstract
Amongst the numerous interpretations of El médico de su honra, Adolfo Marsillach’s adaption stands out for respecting the original ambiguity of the work through elements such as minimalism, timelessness, a psychological interpretation, and the inclusion of four anonymous [...]