This article comments the work of the Portuguese playwright Carlos Selvagem, Dulcinéa ou a última aventura de Dom Quixote, a Heroic Farce represented at the Teatro Nacional Dona Maria, in Lisbon, on January 1944, with settings by Almada Negreiros and music by Ernesto Halffter. From a comparative perspective, and regarding the study of the Quixote’s recreations, the text published in the book is analyzed, contextualizing, in both political and ideological aspects, the «sebastianization» of the Cervantes’ hero presented here, interpreting it’s development concerning the plot, and observing its relationship with Cervantes’ model.