Smješnice are autochthonous dramatic creation in which we also identify broader social determinants of the Mediterranean culture circle. Their ambiental nature derives from the specificity of interpretation conditioned by the Mediterranean urbanity and mentality. The elements of the Mediterranean urbanity in smješnice can be identified by inscenation and interpretation space, while the Mediterranean mentality can be observed from the relationship between the private and the public, from matrimonial relationship, position of women in the society, position of foreigners and minorities in local communities; in other words, from all the elements which provoked laughter of the audience of that time. With the aim of identifying spatial and cultural codes of interpretation practices of smješnice, Marco De Marinis’ model of contextual analysis was taken as a suggestive approach to dramatic interpretation of smješnice. Interpretative art (performance) as an integral message of the author/group of authors and of space and period of its emergence can only be interpreted by using different approaches and by spotting the similarities and the differences alike. De Marinis warns about final consequences of such approach, emphasizing that we shall no longer be focused neither on the text itself, nor on the performance, but on the overall production and reception process instead (2006: 21). In order to interprete and understand the overall production and reception process, we should analyze the relationship of the following elements: text (records of 10 comedies by unknown authors which are called smješnice), interpretation space, but also the space found in the comedy itself, as well as the perception of the audience of that time. Smješnice were performed by amateur dramatic associations. Text was recorded for that reason and it was justified to assume that improvisations and interactive relationship with the audience took place in the interpretation space. It is the intention of smješnice to amuse and please the audience, with no pretensions from the author to leave a piece of timeless messages written in a strict form. Rejection of classification and the interpretability that depends on the reaction of the audience is precisely where the authenticity of this type of Dubrovnik’s comedy lies. This research places smješnice in the broader context of their emergence, identifies the similarities with the comediographic practices of that time and connects them with theatrological tradition, but also points out their individual attributes that make them an autochthonous production embedded into the broader context of the Mediterranean culture of the 17th century. Means for a more comprehensive appreciation of this type of comedy was achieved by applying contextual analysis, more precisely its cultural context. By analyzing their interpretability, observing the integrality of interpretation and production process and discovering local attributes makes it possible for smješnice to be more concretely positioned in the broader European comediographic corpus of the 17th century. Understanding the role of space and the extent of its semantic codes, understanding the Mediterranean urban metalanguage, in other words the Mediterraneanism of space and its connection with the audience’s reception, opens up the possibility for theatrological reinterpretation of the dramatic interpretation of comediography that was often found on the margins of literary theory criticism.