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La théâtralité dans l'œuvre de Lucas Fernández

Abstract : Lucas Fernández, along with his master Juan del Encina, is commonly considered the father of theatre in Castilian. Despite this honourable place in literary history, few are the studies which try to put forward the specificity of Fernández' works, that is to say theatricality. This thesis means to explore the vast field of theatricality by bringing out the dramatic functioning of the plays composing Farsas y Églogas (Salamanca, 1514), the only collection of Fernández' plays to have reached us. First we will focus on analysing the potential of this theatre in terms of body movements and, beyond, of non verbal communication, a field that includes clearly heterogeneous signs such as the body of the characters, the exchange of looks, facial attitudes or movement on stage. We will then study the scope of dramatic fiction, paying peculiar attention to the way spatial oppositions contribute to give the plays their global meaning. Finally, we shall finish our analysis by describing the writing mechanisms of dramatic dialogue. To do so, we will use the methodological contributions of speech analysis and especially pragmatics. This last aspect of the study allows us, by exploring what Michel Vinaver calls the “surface” of cues, to show the variety of dramatic strategies used by Lucas Fernández, whose works, beyond the primitivism attributed to him because of his basic plots, are clearly rooted in a “speech theater” that sounds interestingly modern.
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Contributor : Andreu Coll Sansalvador Connect in order to contact the contributor
Submitted on : Monday, April 28, 2008 - 10:27:23 PM
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  • HAL Id : tel-00276215, version 1



Andreu Coll Sansalvador. La théâtralité dans l'œuvre de Lucas Fernández. Sciences de l'Homme et Société. Université Toulouse le Mirail - Toulouse II, 2007. Français. ⟨tel-00276215⟩



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