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Calderón de la Barca’s La hidalga del valle is an auto sacramental, or allegorical religious play, written in defense of the mystery of the Immaculate Conception of the Virgin Mary. The playwright made two versions of the play, one to be performed in carts (carros) during the Corpus party and another for the stage. The latter, which took place in Granada in 1640, is the fi rst attested performance, within the immaculist celebrations on account of an infamous libel against Mary’s virginity. The present article aims to analyze its thematic singularity, the details of its staging, the general scenography of the performance space, as well as the specific historical-religious circumstances that gave it full meaning as a theatrical text of a genre conceived for the exaltation of the faith and, in this case, for the dogmatic instruction on the immaculate conception of the Virgin, one of the most controversial dogmas in the history of the Church. 

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The present work gives a possible explanation for the disappearance of El primer blasón católico de España, a sacramental play of Calderón that was performed in 1662 and of which not a single trace is left. Parting from the title, and supposedly in contrast to similar works,we propose the story of Hermenegildo y Recaredo as the main theme, and we are making out the conflict provoked by the uncertain death of Felipe IV as related to the supposed political and dynastic conflict of the play. It is the author’s opinion that the struggle between queen Mariana and the bastard don Juan José de Austria and especially the untimely death of Prince Felipe Próspero have provoked the proscription of a text that, in a veiled way, referred to these persons.

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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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I analyze Andrés Barajas’ illustrations of Calderón’s El gran teatro del mundo, manifesting the philosophical and theological hypertexts with iconographic palimpsests that influenced the prints of Barajas. Parting from the formal and hermeneutic input of Barajas’ work on the play and viceversa, it will be shown that there is an iconographic continuum from the middle ages to the twentieth century.

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