摘要：In his play Doña Beatriz de Silva Tirso employs a number of highly radical theatrical devices and techniques in order to transmit to his Golden Age audiences a clearly defined message: the doctrine of the Immaculate Conception. What Tirso does is to draw on his wit and his powers as a playwright to produce a play that is to be performed by actors and in which the spectacular dimension of stage art with its enormous capacity to seduce the audience visually and aurally is put to the service of an idea. It is, consequently, a perfect example of how the art of the theatre can, like the painting, architecture and sculpture of the Spanish Baroque, can function as part of the Counter-Reformation.
