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In the last months of 1622, several plays were staged by Juan Bautista de Villegas’ company at the queen’s room. Among them, there was Como se enganan los ojos, composed by Villegas himself. The play, which nurtures from all the typical ingredients of comedia nueva, encloses a whole epistemological reflection on how the gaze determines perception and understanding of the world, and makes visible on stage some touchstones of Baroque worldview. Through a metatheatrical game which expands to all constructive components of the play, Villegas places his particular dramatic rendition of trompe-l’œilin a line which crosses 17thcentury artistic and literary creation.

Ver o no ver: mirada y (meta)teatralidad en "Cómo se engañan los ojos" de Juan Bautista de Villegas