Granite statue of Fernando de Rojas in his hometown, Puebla de Montalbán, of the province of Toledo, Glorieta square. It includes an inscription that says "Relic of the remains of Fernando de Rojas, donated by Talavera de la Reina"
Painting on wood made with a mixed technique that represents a medieval courtship scene inspired byLa Celestina.The author writes about the image: "To seduce the beloved the help of the procuress was not enough. It was necessary to reach the dreamy…
Genre painting by Flemish author, based on the parable of the prodigal son (merry company). Note the old woman in the foreground, who, Judas-like, reaches for the bread.
Scene inspired by the tradition of the prodigal son. Caravaggio influences. "Honthorst's genre painting relates to the subject portrayed by his fellow Utrecht Caravaggisti. It depicts a provocative scene of a wanton student (the prodigal son?) in the…
Dinner scene with prostitutes inspired by the biblical story of the prodigal son, a common theme in Dutch painting of the time. Compared with pictures by Murillo on the same theme, which do not present these scenes but rather the reconciliation.
"Honthorst's genre pictures of light-hearted gatherings had a great impact in Utrecht. He made such pictures while he was still in Italy. His Supper Party, painted during his last months in Italy, set a precedent for similar scenes done in the 1620s…
Representation directed by Álvaro Custodio of the Teatro Español de Mexico for the Ateneo Español de Mexico, in Mexico D.F. Clippings of theater reviews, comics, and photos and pages taken from magazines.
Representation directed by Nilda González of the University Theatre of the Puerto Rico University. Adaptation by Nilda González based on Francisco Fernández Villegas' version. Official program, sketches of the stage, illustrations of the stage,…
Representation of Alfonso Sastre's version of La Celestina.Storia di amore e di magia con qualche citazione dalla famosa tragicommedia di Calisto e Melibea.Performance at the Teatro Argentina, Rome, Italy. Premiere April 26, 1979.
Original title:De Spaanse Hoer ("The Spanish Whore"), adaptation of the work by Hugo Claus directed by Alfons Goris at the Studio Herman Teirlinck, Antwerp (1987-88).Representation in the city of Antwerp. Photos of the performance showing the actors…
Representation directed by Antoine Vitez of the Théatre National de l'Odeon for the Grec-89 Festival. Starring Jeanne Moreau, Lambert Wilson, and Valerie Dreville.Record of representation in CDAEM, Spanish…
Representation directed by Adolfo Marsillach of the National Classical Theater Company for the Edinburgh International Festival at the Royal Lyceum Theater, starring Amparo Rivelles and Jesus Puente.
Performance directed by Alejandro Sieveking for the Montecarmelo Center, starring Bélgica Castro in Santiago de Chile.Cast:Bélgica Castro (Celestina)Jéssica Vera (Melibea)Mauricio Torres (Calisto)Ramón Carcher (Sempronio)Mónica Jaramillo…
Assistant Directors: Lito Bara and Ana Belén Saint-Jean
Fight Consulting: Hernán Martinez
Original Music: Jorge Valcarcel
Musicians on stage: Jorge Valcarcel and Luis Reales
Lighting design: Lito Pastrán and Jorgelina Flores
Setting and costume…
Opera performance for the Zarzuela Theater, Directed by Ana Mª Iriarte (artistic direction), Miquel Ortega (musical direction), Ignacio García (stage direction).
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…
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 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 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 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-…
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,…
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).
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.
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.
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.
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.
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.
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.
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.
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…
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.
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").