The unique experience of seeing Golden Age theater at the Corral de Comedias in Almagro, the only one that has been preserved intact, just as it was in the 17th century, and which remains in use today.

DON GIL DE LAS CALZAS VERDES

Corral de Comedias.

August 20 – 8:30 p.m.

Don Gil de las Calzas Verdes is a classic of the Spanish Golden Age that continues to resonate powerfully in our time.

Written in the 17th century, this play is much more than a comedy of errors; it is a celebration of female wit and power—values that we need to recognize and champion on stage today more than ever.

THE GARDENER’S DOG

Corral de Comedias.

August 21 – 8:30 p.m.

A story of blue blood, eroticism, and privilege—the privileges enjoyed by the aristocracy in the early 17th century. *El perro del hortelano*, a drama of love, envy, jealousy, and honor, was written in 1613 by the great playwright Lope de Vega.

Set in Naples, the play tells the story of Diana, Countess of Belfor. Diana is a beautiful and headstrong young woman who is pursued by several aristocratic suitors eager to marry her. However, Diana consistently rejects all their advances. One night, after seeing her secretary making love to her favorite lady-in-waiting, she falls madly in love with him and becomes consumed by jealousy.

This is the story of a love triangle, of forbidden love and betrayals, set during the time when Naples was under Spanish rule. Thus, the Countess’s household—manipulated by the nobles—represents that segment of Spanish society living abroad. Setting the action in this European city also allows the play to be filled with Italian influences and plots, which Lope was so fond of.

THERE IS NO MOCKERY IN LOVE

Corral de Comedias.

August 22 – 8:30 p.m.

In Calderón de la Barca’s comedy of errors, *No hay burlas con el amor* (Love Is No Joke), the secret relationship between Don Juan and Doña Leonor is threatened by the strict social conventions of the time.

For their love to flourish, Doña Leonor, the younger sister, must wait until her older sister, Beatriz, gets married.

However, Beatriz, a scholar with a pedantic disposition, shuns engagement and uses a stilted manner of speech that makes her unattractive to suitors.

When Beatriz discovers the lovers and the young women’s father begins to suspect the existence of a secret lover, Don Juan and Doña Leonor devise an ingenious plan: to make everyone believe that it is Beatriz who is having a secret romance.

To do so, they enlist Don Alonso, who is chosen to pose as the supposed lover.

After a series of misunderstandings, entanglements, and amusing mix-ups, fate intervenes, and Don Alonso and Doña Beatriz end up, against all odds, falling in love. This unexpected union not only resolves all the plot’s problems but also leads to a happy ending for all the characters.

FESTIVAL

Corral de Comedias.

August 22 – 10:45 p.m.

Dance: “Vuelen pajaritos”

Starring Fun, Love, Distrust, and other abstract personifications, “Vuelen pajaritos” transforms a children’s game into a raw metaphor for love and vulnerability. In the game—which involves raising one’s arms when something that can fly is named—mistakes and “forfeits” spark moral disputes. To make a mistake is not to fail, but to betray oneself.

Dance of the Poison of the Senses

In *Poison Dance of the Senses*, two women, united by their love for one another, journey together through a sensory and poetic space where love between women is lived freely, without rivalry. Suddenly, the performance is interrupted: the prompter has disappeared, and the dance script is blank. Left without a script, the protagonists improvise and take ownership of the words, transforming from performers into creators.

Dance of Comedy Titles

There is no linear plot: the appeal lies in the wit, the accumulation of theatrical allusions, and the festive nature of the finale. "Dance of the Comedy Titles" proposes a metatheatrical game in which the characters quote and explore famous titles of comedies from the era, paying homage to the repertoire and the bustle of the courtyards.

Dance of the Madrid Inns

This final “Dance,” orchestrated by the three directors, brings *Fiesta* to a close. “Dance of the Inns of Madrid” is a festive portrait of working-class Madrid that evokes taverns, guesthouses, and both public and secret inns, showcasing the bustle of travelers, students, soldiers, and a diverse array of people who populate these spaces. With a touch of picaresque wit, it paints a vivid picture of the diverse social mix that crosses paths in the inns and sets the dances ablaze with excitement.

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