Teatro Espanol de autoria femenina en el umbral del nuevo milenio : identidad individual, generica y colectiva en la dramaturgia de Yolanda Pallin.
Having identified an area traditionally neglected by critical literature i. e. women
playwrights, this thesis concentrates on the body of work that started to be produced
in the nineties in Spain, when a new `generation' of dramatists emerged. Specifically,
the core of this work provides an analysis of Yolanda Pallin's plays, and thus,
focuses on the Madrid scene. Having adopted a fundamentally semiotic approach,
this study is divided into four main sections.
After a general introduction that relates the defining characteristics of such
`generation' and their chronological framework, chapter 2 is dedicated to the analysis
of meaning, concentrating on what has been identified as the `identity crisis', and
examining the influence that it has on Pallin's characters. The approach taken is
interdisciplinary and therefore draws on the combined theories of postmodernism,
feminist and psychoanalytic criticism, anthropology and queer studies.
Chapter 3 concentrates on the deep structure, thus providing an analysis of the
construction of the dramatic text according to the action structure. Propp's notion of
function and Ubersfeld's actancial model are taken as the basis from which to place
the divisions into sequences or areas of action and, then, to identify the dramatis
personae with a particular function(s) (subject/object; sender/receiver;
In chapter 4 both the production and reception contexts are dealt with in order to
analyse the performance and reception of Pallin's plays. Direct and recorded viewing
in conjunction with methods of journal survey and personal interviews form the basis
for the empirical analysis carried out at this stage.
Finally, some conclusions are reached regarding Pallin's aesthetics in connection
with her contemporary female colleagues. All in all, her work is proved to be
ambiguous, highly metadramatic, eclectic, occasionally built on feminist premises
and always critical, thus becoming particularly characteristic of the Spanish theatre
of the nineties.