relation has been established between the theatricalization of punishment and terror and the torture scene in Act 3 of Fuente Ovejuna, when the pesquisidor comes, in the name of the Catholic Monarchs, to discover the identity of Fernin G6mez's killers: "The Monarchs, or in this case the pesquisidor, serve as the 'dramatist,' the torturer or executioner and the villagers become the 'actors,' and the rack the 'stage' " (Blue 307). The carnival of terror, however, does not dominate solely the climactic offstage representation of public torture and collective resistance; it permeates the entire performance experience of Marsillach's rendition of the play, from the moment of the audience's entry into the theatrical space until its final exit some one hundred thirty