Hacia una teoría de lo espectacular en las comedias de Agustín Moreto.

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                            [a] => The use of scenery resources and stage machinery has been scarcely studied in the specific case of Agustín Moreto. However, it is a matter of unquestionable interest because he is a playwright who is located at a time of transition (chronologically and ideologically speaking) between the two creative cycles in which Spanish Golden Age drama is usually divided: the one led by Lope de Vega and the one by Pedro Calderón de la Barca. This essay attempts to draw attention to this particular issue and to set down the foundations, through the analysis of a selection of significant plays, of what it could be Moreto�s general approaches in this sense.
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