Abstract

A work should have a relation system between the different elements and parts of it in order for the literary text to have a theatrical functioning and that it can be performed on stage. After studying Calderón’s works, González states that the relations’ multiplicity present in this work allows for a complex intrigue, besides that in the capa y espada theme the «enredo», loved by the Siglo de Oro comedy public, can be easily and effectively used. The dramatic structuring of the literary text is essential for the spatial creation, as the theatrical piece is conceived as a text destined to a performance that responds to the scenic conventions of its time.