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Second illustration from act XX from the Mexico edition (1947)

Symbolic drawing that could be the spirits of Calisto and Melibea.

First illustration from act XX from the Mexico edition (1947)

Symbolic drawing that is difficult to interpret. It could be Calisto's ghost hugging Melibea while a character transformed into a tree could be Celestina's ghost.

Second illustration from act XIX from the Mexico edition (1947)

Coloured image of Melibea's suicide that transforms to rose gradually as she falls.

First illustration from act XIX from the Mexico edition (1947)

Drawing of Calisto dead in his servants' arms. Calisto's figure is curiously nude.

Second illustration from act XVIII from the Mexico edition (1947)

Centurio gives Traso el Cojo and another ruffian instructions.

First illustration from act XVIII from the Mexico edition (1947)

Drawing of Elicia and Areúsa standing before Centurio, who appears almost as an avenging angel.

Second illustration from act XVII from the Mexico edition (1947)

Drawing of a naked woman changing clothes. She is perhaps Elicia or Areúsa who is changing from mourning to more cheerful clothes.

First illustration from act XVII from the Mexico edition (1947)

Drawing of Areúsa coaxing Sosia while Elicia listens behind the curtain.

Third illustration from act XVI from the Mexico edition (1947)

Coloured image of naked Melibea and Calisto in the garden. Underneath can be read: "¡Oh dulce sobresalto!" ("Oh sweet shock!").

Second illustration from act XVI from the Mexico edition (1947)

Drawing of Melibea playing the lute in her bed.

First illustration from act XVI from the Mexico edition (1947)

Conversation between Pleberio and Alisa inside the house.

Second illustration from act XV from the Mexico edition (1947)

Drawing of a man (Sosia or Tristán) who with a candle in his hand illuminates a fallen corpse beside the wall who could be Calisto after his fall.

First illustration from act XV from the Mexico edition (1947)

Drawing of Elicia arriving to Areúsa's house dressed in mourning. Areúsa appears almost naked.

Second illustration from act XIV from the Mexico edition (1947)

Drawing of Lucrecia playing the lute while Calisto and Melibea hug in the garden.

First illustration from act XIV from the Mexico edition (1947)

Drawing of Calisto and Melibea hugging in the garden.

Second illustration from act XIII from the Mexico edition (1947)

Drawing of a body covered with a sheet or a shroud that is supposedly dead Celestina.

First illustration from act XIII from the Mexico edition (1947)

Drawing of dead Celestina and of Elicia crying, plus a series of female characters in the background.

Second illustration from act XII from the Mexico edition (1947)

Calisto and Melibea, half naked, hugging in the garden, with the moon and the tree in the background.

First illustration from act XII from the Mexico edition (1947)

Calisto and Melibea's meeting behind the garden door. Pármeno and Sempronio in the background.

Second illustration from act XI from the Mexico edition (1947)

Drawing of Celestina with the Church of the Magdalena in the background and handwritten superimposed text of her words in which she desires to go to the Church of the Magdalena to meet with Calisto.

First illustration from act XI from the Mexico edition (1947)

Celestina and Calisto walk down the street accompanied by Pármeno and Sempronio, who are following them. View from the city and superimposed part of the text written by hand.

Second illustration from act X from the Mexico edition (1947)

Colour image of Pármeno approaching Areúsa's bed. She is naked. Underneath can be read: "Que quiero ver par cuanto eres" ("I want to see how much you are worth").

First illustration from act X from the Mexico edition (1947)

Drawing of Melibea seated at the window of her room playing with a cat.

Second illustration from act VIII from the Mexico edition (1947)

Drawing of Pármeno and Sempronio speaking at the table at Celestina's house, from whose ceiling hang hams and charcuterie.

Second illustration from act IX from the Mexico edition (1947)

Drawing of a couple hugging and ascending to the top floor of Celestina's house, while Pármeno is downstairs, kneeling??

First illustration from act IX from the Mexico edition (1947)

Drawing of the banquet at Celestina's house.

First illustration from act VIII from the Mexico edition (1947)

Drawing of Areúsa and Pármeno getting out of bed the next day.

Second illustration from act VII from the Mexico edition (1947)

Drawing of Areúsa bent over and naked.

First illustration from act VII from the Mexico edition (1947)

Drawing of Celestina approaching Areúsa, naked, in the bed, while Pármeno watches from behind a curtain.

Third illustration from act VI from the Mexico edition (1947)

A skeleton representing death approaches a dove or bird on a branch.

Second illustration from act VI from the Mexico edition (1947)

Calisto and Melibea kissing in the garden under the moon. Underneath can be read: "¡Oh mi vida y mi amor!" ("Oh my life and my love!").

First illustration from act VI from the Mexico edition (1947)

Drawing of Calisto playing the lute in his bed and Celestina speaking to him. Dog on the floor and Pármeno listening in the background.

Third illustration from act V from the Mexico edition (1947)

Drawing of a group of older women.

Second illustration from act V from the Mexico edition (1947)

Coloured image of Sempronio hugging Elicia. Underneath can be read: "No derribes la mesa" ("Don't knock down the table").

First illustration from act V from the Mexico edition (1947)

Drawing of Celestina walking down the street and a young man, Sempronio, waiting for her leaning on a wall.

Illustration from act IV from the Mexico edition (1947)

Drawing of Celestina on the balcony and Celestina behind speaking to her.

Illustration from act III from the Mexico edition (1947)

Drawing of Celestina at the table casting a spell and the spirits becoming visible.

Illustration from act II from the Mexico edition (1947)

Drawing of Celestina in her house with the string and a cat at her feet.

Fourth illustration from act I from the Mexico edition (1947)

Drawing of Melibea as a locked up damsel that is sewing or embroidering with a cat at her feet.

Third illustration from act I from the Mexico edition (1947)

Colour image of Melibea with the falcon. Underneath can be read: "De cuyo amor preso comenzóle de hablar" ("About whose imprisoned love he began to speak to him about").

Second illustration from act I from the Mexico edition (1947)

Colour image of Melibea with long hair. Beneath the image can be read: "La soberana hermosura" ("The sovereign beauty").

First illustration from act I from the Mexico edition (1947)

Drawing of Calisto and Melibea in the garden.

Eighth illustration from the prologue from the Mexico edition (1947)

Drawing of Calisto on horseback while the falcon is flying.

Seventh illustration from the prologue from the Mexico edition (1947)

Drawing of Calisto bowing, probably before the arrival of Celestina to his house.

Sixth illustration from the prologue from the Mexico edition (1947)

Drawing of Calisto playing the lute while Pármeno and Sempronio speak in the back.

Fourth illustration from the prologue from the Mexico edition (1947)

Drawing of naked Melibea bathing in a pond while a bird draws near.

Fifth illustration from the prologue from the Mexico edition (1947)

Drawing of Calisto playing the lute in his room with a sleeping dog in the foreground and the city seen through the window.

Third illustration from the prologue from the Mexico edition (1947)

Drawing of the gallant scene between Calisto and Melibea, probably their encounter in the garden.

Second illustration from the prologue from the Mexico edition (1947)

Naked woman, perhaps Melibea, abducted on a billy goat so it could be Celestina; inspired perhaps in the Abduction of Europa.

First illustration from the prologue from the Mexico edition (1947)

Melibea in her room surrounded by cupids. Note the similarity with the paintings of the Anunciación.

Illustration from the introduction from the Mexico edition (1947)

Celestina walking surrounded by mythological beings. Note Picasso's influence on the minotaur, Melibea in the background and garden with trees that remind us of the cypresses from the cementery.

Illustration from the inside cover from the Mexico edition (1947)

Symbolic portrait of Celestina with the moon and what appear to be flames or a tree.

Illustration of act XXI of the Valencia edition (1529)

Factotum of a house, Alisa, Melibea throwing herself from the tower (without a name above) and Pleberio tearing at his beard.

Third illustration of act XX of the Valencia edition (1529)

Factotums of Pleberio, without a beard, Lucrecia who has her head covered and Melibea with the mirror and a plant in the background, surrounded by a building on the left and a tree on the right. Very similar to the illustration used in act XVI. Note…

Second illustration of act XX of the Valencia edition (1529)

Sosia and Tristán retrieve Calisto's body. He has just fallen from the ladder.

First illustration of act XX of the Valencia edition (1529)

The same image used in act XIV: Sosia and Tristán stand guard while Calisto begins to climb the ladder. Lucrecia and Melibea watch from the other side of the crenelated wall.

Illustration of act XVIII of the Valencia edition (1529)

Factotums of Centurio, Elicia (covered) and Areúsa (without head covering) framed by two buildings.

Illustration of act XVII of the Valencia edition (1529)

Factotums of Elicia, Areúsa and Sosia framed by two buildings in the margins.

Illustration of act XVI of the Valencia edition (1529)

Factotums of Pleberio without a beard, Alisa, Lucrecia wearing cloak, and Melibea holding a mirror and a plant in the background. Factotum of a building in the right margin.

Illustration of act XV of the Valencia edition (1529)

Factotum of Areúsa, who has her head covered in mourning, Centurio and Elicia. Framed by factotums of buildings on each side.

Illustration of act XIV of the Valencia edition (1529)

Sosia and Tristán stand guard while Calisto begins to climb the ladder. Lucrecia and Melibea watch them from the other side of the crenelated wall. This is used again in act XX.

Illustration of act XIII of the Valencia edition (1529)

The executioner executes Pármeno and Sempronio in the right margin and the judge holds a staff and sword in his belt flanked by two armed soldiers.

Second illustration of act XII of the Valencia edition (1529)

Pármeno and Sempronio killing Celestina with swords.

First illustration of act XII of the Valencia edition (1529)

Factotums of Calisto, Lucrecia, Melibea, Sempronio and Pármeno.

Illustration of act XI of the Valencia edition (1529)

Factotums of Calisto, Celestina, Pármeno, Sempronio and Elicia.

Illustration of act X of the Valencia edition (1529)

Factotums of Melibea, Celestina, Lucrecia, Alisa.

Illustration of act IX of the Valencia edition (1529)

Factotums of Sempronio, Pármeno, two houses repeated (in the Valencia edition (1514) they are different), and a covered female character. The names above these five factotums are Sempronio, Pármeno, Elicia, Celestina, Areúsa, Lucrecia.

Illustration of act VIII of the Valencia edition (1529)

Factotums of Sempronio, Pármeno, Areúsa, Calisto and a house.

Illustration of act VII of the Valencia edition (1529)

Factotums of Pármeno, Celestina, Areúsa, Elicia and a house.

Illustration of act VI of the Valencia edition (1529)

Factotums of a house with a person inside, Calisto, Celestina (head covered), Pármeno and Sempronio.

Illustration of act V of the Valencia edition (1529)

Factotums of Calisto, Pármeno, Sempronio, Celestina and a house with a person inside in the right margin.

Illustration of act IV of the Valencia edition (1529)

Factotums of Lucrecia, Celestina, Alisa and Melibea. Only Alisa corresponds to an older woman, but not Celestina. On the left, there is a row of houses.

Illustration of act III of the Valencia edition (1529)

Factotums of Sempronio, Celestina and Elicia framed by a tree and a tower.

Illustration of act II of the Valencia edition (1529)

Three factotums of Calisto, Pármeno and Sempronio. Framed by a tree and a tower with two people inside. The image of Pármeno is the same used in the previous act for Calisto.

Illustration of act I of the Valencia edition (1529)

Five factotums of Pármeno, Calisto, Melibea (holding a mirror and a background with vegetation), Celestina, Elisa. The name Crito is included above the factotums but does not have a corresponding image.

Illustration of the prologue of the Valencia edition (1529)

Represents the author and at times the illustration is identified as "young author" to distinguish it from the image of the "old author" in the Valencia edition (1518).

First illustration of the cover page of the Valencia edition (1529)

Composite scene that shows two servants escorting Calisto on horseback and a third Black servant or page. It also includes a dog and in the right margin Melibea's house, where she and Lucrecia are on the balcony, while Celestina knocks on the door,…

Representation of the Théatre Sarah Bernhardt, Paris, 1958

Representation directed by Luis Escobar and Humberto Pérez de la Ossa, of Eslava Theater

Representación deOjos de agua, Madrid, 2015

Representación dirigida por Yayo Cáceres, protagonizado por Charo López.

Representation of Miracle Theatre Group, Portland, 2013

Representation directed by Christy Drogosch, of the Miracle Theatre Group. Adaptation: Raquel CarrióProduction: MilagroSponsors: Josie Mendoza and Hugh MackworthDuration: 90 min.Language: Spanish with English subtitlesCast: Bibiana Lorenzo Johnston-…

Representation of the Teatro Fernán Gómez, Madrid, by Serrano, 2012

Representation directed by Mariano de Paco Serrano, Secuencia 3 Artes y Comunicación.
Version: Eduardo Galán.
Direction: Mariano de Paco Serrano.
Scenography: David Deloaysa.
Clothing: Maika Chamorro.
Music: Tomás Marco.
Lighting: Pedro…

Representation of the Espada de Madera Theater, Madrid, 2011

Representation directed by A. Diaz-Florian, at the Espada de Madera Theater. The photos show the actors.Record of representation in CDAEM, Spanish Theater:https://www.teatro.es/estrenos-teatro/la-celestina-27557

Representation of the Teatro el Público, La Habana, by Díaz, 2001-2002

Representation directed by Carlos, Diaz from the Cultural Center of Spain, from the El Público theater.
Dramaturgical version by Norge Espinosa and Abel González Melo
Theater consultancy by Norge Espinosa
Costume Design, Vladimir Cuenca and Carlos…

Representation of the Teatro Círculo, New York, by Córdoba, 2008

Cast:Patricia Becker-MelibeaJosé Enrique Díaz-CalistoBeatriz Córdoba- CelestinaFermín Suárez-SempronioJosé Cheo Oliveras-PármenoEva Cristina Vásquez- AreúsaMariana Buoninconti- Elicia

Representation of the Zampanó theater, Madrid, by Mayo, 2006

Representation directed by José Mayo, from the Zampanó theater.

Representation of the Nau de Sagunt in Barcelona and the Teatro Español in Madrid, by Lepage, 2004

Representation directed by Robert Lepage, at the Nau de Sagunt, featuring Nuria Espert.

Representation of the Edinburgh International Festival, Edinburgh, by Bieito, 2004

Representation of the Edinburgh International Festival, directed by Calixto Bieito, from the Birmingham Repertory Theatre.

Representation of Dartmouth Department of Theater, 2002

Representation directed by Pamela Howard and Robert Potter from Dartmouth Department of Theater.

Representation of Calisto, history of a character, Madrid, 2001

Original title: Calisto, historia de un personaje ("Calisto, history of a character").Representation directed by Miguel Seabra from meridional theatre, protagonizadla by Álvaro Lavín.

Representation of the Ciudad Rodrigo Theater Fair, Salamanca, by Vida (1999)

La Celestina, de la pasión al revolcón ("La Celestina, from passion to tumble")Free version of La Celestina by the BoTiKa group. Theater-cabaret company.Some images are from the representation at the Cáceres Classical Theater Festival at the Plaza de…

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