Pelaez, Sol I.
Moser, Keith A.
Davisson, Brian M.
Date of Degree
Original embargo terms
Visible MSU Only 1 Year||8/15/2020
Graduate Thesis - Open Access
The purpose of this work is to explore how Luigi Pirandello’s Enrico IV (1922) and Miguel de Unamuno’s El hermano Juan o el mundo es teatro (1929) utilize metatheatrical strategies to create plays that constantly question the juxtaposition, and yet the fluidity, of reality and fiction. Through a similar existential search, which is guided by a Sartrean psychoanalytic approach, the protagonists endure a transformation that reveals contrasting results: Enrico remains entrapped in his theatrical portrayal of Henry IV. Conversely, Don Juan frees himself from societal restraints that had portrayed him as a trickster through centuries of literary tradition. In these plays, authority becomes an ever-shifting device that persistently moves from the author, to the characters, and finally to the audience, affecting their own freedom, intended in the Sartrean sense, and being.
Wadlington, Francesca Magario, "Displaced consciousness and historical imprisonment in Pirandello’s Enrico IV and Unamuno’s El hermano Juan o el mundo es teatro" (2019). Theses and Dissertations MSU. 1530.