Juan Ruiz de Alarcón’s Las paredes oyen is an exceptional comedia in that it captures the embodied experience of living with a physically marked body and it does so from the perspective of a disabled author. Cultural and social attitudes towards deviant corporealities, however, have prevented the staging of the leading part, Don Juan, as physically marked, from the play’s first staging in 1618 to the last third of the twentieth century. This article reconstructs the material circumstances in which Las paredes oyen has been historically staged, from 1829 to 1975, in continental Europe, Mexico, and Canada, and discusses the logic behind not staging Don Juan’s body as deviant in each production during this period. For this reconstruction, this study avails itself of a variety of archival sources, from newspaper ads and articles to programs, and rehearsal copies of the play.

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