Abstract

Pedro Calderón de la Barca never ceases to work. His constant in­terest to improve or adapt his texts has produced two versions of the same play in several occasions. His autographs allow us to examine his writing process as well as the theatrical practice in Golden Age Spain. In [...]

Abstract

Calderón’s autograph comedia-manuscripts which have been preserved are not rough drafts, but versions prepared by the author to be delivered to a user, normally a theatre company. They should therefore be studied as final products of the process of composition. The authorial corrections [...]