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This paper uses neuroscientific concepts to show an evolution of Segismundo in La vida es sueño in more dimensions than the social or individual ones, linking it to our species' own history in the way he uses the different attributes he confers to his character during the play. Segismundo is not only a prisoner who ends up taking up his position as prince, but also an example of the ideal process of Man's development and, at the same time, of the evolution that takes place from the animal to the human being, with special emphasis on the rational and analytical capacity as fundamental and irreplaceable feature of the ideal man. To exemplify this I will use the model of the triune brain, identifying the different parts of the brain (reptilian brain, the limbic system and the neocortex) and relating their different evolution along time and areas of specialization with the three different stages of Segismundo's evolution, thus converging in the model of the ideal man suggested by Calderón.

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This article analyses the Spanish television adaptation of Calderón’s sacramental play La vida es sueño by Alberto González Vergel (1965), focusing on changes such as the elimination of certain parts of the text, the addition of images to illustrate the scenes, or the alteration of verses. It also examines the scenography, the wardrobe and the scenic music and compares these to Calderón’s vision and to the staging of Federico García Lorca. It will be confirmed that Spain, in the mid-60’s, returned to a thinking of Enlightenment which rejected sacramental plays, a return that introduced Spain to Modernity but avoided the correct understanding of our Golden Age and so left our cultural heritage helpless in the face of powers like the omnipotent TV. 

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The present article analyses Raúl Ruiz’ movie Memoria de apariencias: La vida es sueño (1986) in relation to Calderón de la Barca’s La vida es sueño, which the chilenean director adapted to his situation of being in exile. Both Works play a central role in the history of audiovisual arts. The Spanish playwright synthesized the poetical, dramatic and scenographic resources in a way that converted theatrical presentations into an absolute work of art. Raúl Ruiz follows Calderón’s path and thus anticipates the work of other directors that used baroque elements in order to create a similar effect on screen. Both Calderón de la Barca and Raúl Ruiz are pioneer experimentators who universally changed aesthetics of representation and performance. Moreover, the Ruiz’ free adaption of La vida es sueño gives us the possibility to contemplate Calderón’s drama in a new way. 

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