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Numerous theatrical ingredients in the works of Cristina Fernández Cubas reflect postmodern psychological concerns for the other, the problematic distinction between fact and fiction, and the importance of performance in self-identity. By spotlighting the spectator, Fernández Cubas accentuates the focalization of her narrators as witnesses to action. Although the incorporation of the theatrical spectator might appear tu be primarily a narrative structuring device that frames her fiction, her insistent use of it creates a motif that shapes a definition of life-as-spectacle, performance and illusion. The evolution of Fernández Cubas's theater in her narratives helps characterize her production as a whole and account for her turning to play-writing in Hermanas de sangre. The theatrical aspects Fernández Cubas includes in her fiction blur the boundaries between the finite and the infinite dimensions of human existence that their incorporation promises: they carry metaphorical implications, and in their capacity as graphic spectacles they provide important revelations to protagonists.
