Reception of La Vida es Sueño in today’s Russia

Abstract

This article analyses the reception of Pedro Calderón de la Barca’s La vida es sueño in Russia, through the presence of its author from the 18th century to the present day. It identifies the specific features of Natalia Vanjanen’s new Russian version and its public and critical reception. At the same time, exploring the process of semiotisation for the staging of the play, in its Russian version, by the Spanish director Natalia Menendez.