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The objective of this thesis is to observe and analyze the function that the obstacle accomplishes in the dramatic structure of Lope de Vega's Muslim and Christian Comedias. The Corpus of the study constitutes thirty plays written between 1579 and 1629. From the methodological point of view, the actancial models, proposed by Greimas and adapted by A. Ubersfeld for the study of the theatre, are used. The application of this methodology allows us to determine the dramatic structure of a play, to locate the elements that compose it, and to analyze the functions that are accomplished. The study is complemented by a semiotic analysis of the work, considering, at the same time, the historical circumstances that add meaning to the comedy. When observing the Opponent, antihero or obstacle-carrier character, it is possible to identify the obstacle, to determine its nature and to verify how and when it is inserted or surpassed within the play. Consequently, the time, the circumstance and the solution of the conflict, produced by the presence of an obstacle, are of vital importance to define the tension and the interest in a work theatre. Among the group of Muslim comedies, the most important obstacles are captivity and religious difference, which entails a cultural discrepancy, generally impossible to resolve that leads to confrontation. In addition, there are historical events, like the expulsion of the moriscos of Spain in 1609, that affect the writing of this type of Comedia, and that is reflected in the conflicts and solutions that Lope proposes. In conclusion, we demonstrated that at the beginning of his career Lope has not yet perfected his technique. In its early Comedias there is a multiplicity of obstacles that do not have an important role and Lope does not manage to integrate them within the whole. Frequently, the main obstacle is solved too soon. At the peak of his career, Lope enters in a vertiginous rate of production and the number of works, dealing with the same subject, is greater, in a shorter period. His Comedias are structured very well and they are also rich in action. There are fewer elements that are randomly placed and almost all of them are integrated within the main plot. However, he makes some structural errors and writes Comedias that do not follow his own rules. He does not only use the scenic apparatus with the purpose of making an impression on the audience, but with the aim to solve through a miracle some obstacles. Later in his career, his works maintain a well-planned structure, but they evolve in another direction. They become more psychological and the creation of the antiheroes is better accomplished. In addition, symbolic elements that contribute unity to the subject abound. Finally, we demonstrated that, after 1609, after the edict of expulsion of the moriscos, Lope remarkably diminishes the number of Comedias with Muslim and Christian themes. Keywords: Obstacle - Comedy - Muslims - Christians - Lope de Vega - theatre - Golden Age - Spain - Spanish Comedy
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