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Throughout this article, it is possible to see, from a staging craft point of view, how Tirso de Molina experiments with drama without interruption in the above mentioned play. This is achieved by means of certain conflicts with the current poetical and dramatical theories of is age: he just keeps to the unity of action and he hardly goes by the unity of time so as to create a stage which is conceived as a whole, unitary and multiple at once, and this is done through the fixed stage. It can also be seen, by means of a reconstructive approach to its premier in the open air theatre or corral de comedias, that the mercedary's taks is a model of skill in stagecraft, as the visual meanings really determine their episodes and sequences, as well as the constant structural formula on which the dramatic is based.

Significados visuales en El burlador de Sevilla y convidado de piedra de Tirso de Molina