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Se ordena la lectura de las farsas de Gil Vicente, Quem tem farelos?, y de Joan Fernández de Heredia, La vesita, por voces, temas, técnicas, recursos y personajes presentes en ambas obras. Se confirma que a lo largo y ancho de la Península Ibérica, en el periodo tardomedieval, hubo una circulación de prácticas y acervos comunes, precedentes de periodos de la teatralidad inmediatamente posterior. Readings of Gil Vicente’s farce Quem tem farelos? and Joan Fernández de Heredia’s La vesita are ordered by voices, subjects, techniques, resources and characters. This confirms that, throughout the Iberian Peninsula and during the late medieval period, there was a circulation of practices and common heritage, precedents of inmediately subsequent dramatics

Plurilingüismo en el teatro tardomedieval y renacentista: juego de voces