The research project focuses primarily on the study of the figure of the madman within the dramatic corpus of Lope de Vega, since it constitutes a clear example of how madness, a deeply present reality in Spanish society during the 16th and 17th centuries, was transferred to literature.

The fool, but above all the mislead of madness, is revealed as a relevant tool for theatrical construction. This character not only creates the argumentative material for the plots, but also acts as a motor to set off the prototypical entanglement of the Spanish baroque comedy. In this exploration of the “comedias de locos” we will investigate how the laugh generated by the insane, through their absurdities and nonsense, invites us as spectators (and readers) to think about the Spanish Golden Age theatre and the society of the time. 

As a preliminary and indispensable step, the first objective of our thesis will be to establish the corpus of Lope’s plays that represent madness and to separate those comedies in which madmen play a more relevant role from those in which their function is clearly accessory and circumstantial, in order to define a main canon and a subgroup of secondary plays. For that purpose, we will need to trace all available information regarding the dates and circumstances surrounding the writing, staging and publication of the different works. Thus, for example, we will be able to find out if madness is a theme exclusive to certain periods of Lope’s plays (it is usually associated with his early production).

Next, we will carry out a detailed analysis of the traits of madness found in the selected plays, with the aim of defining its function and develop an accurate typology of the madman character in Lope de Vega’s theatre. Rather than considering Lope’s corpus as an isolated case, our thesis will extend to include the main theatrical models of Lope. In particular, we will focus on the works of some dramatists that constitute the first commercial theatre of the Spanish Golden Age, specifically, the theatre of the last quarter of the 16th century. 

Finally, our goal is to provide a scenic analysis on the representation of madness; therefore, we will offer several hypotheses concerning the actor’s portrayal of the fool character, including both histrionic techniques and the wardrobe used, as well as the props and stage design related to the theme of madness.