
Between dense writing, digital paywalls to navigate, and the rising cost of higher education, academic scholarship has become increasingly inaccessible to the public. Esther Fernández (Biruté Ciplijauskaité Postdoctoral Fellow, 2023-2025) is doing her part to change that. A scholar of Iberian literary, visual, and cultural studies, Esther is also a member of the bilingual shadow puppetry troupe Dragoncillo.

Formed in 2018 by a group of university scholars specializing in Spanish Golden Age (1492–1700) theater, Dragoncillo brings classical forms of puppet theater into a contemporary context, with a focus on accessibility. The troupe’s mission is to engage audiences of all ages through dynamic performances that merge traditional shadow puppetry and 16th-17th-century literature with modern storytelling techniques. Dragoncillo’s production Jinxed, for instance, is based on the 17th-century “entremés”—a short, comic theatrical performance of one act —El bobo enamorado (Los putos) by Spanish playwright Jerónimo de Cáncer. In Dragoncillo’s version, the lovesick character Toribio is transformed into a magical fish who uses an enchantment to assist his romantic efforts, yet fails again and again, much to the comedic delight of young audiences. The custom-built transportable stages and whimsical puppets that bring Dragoncillo’s performances to life are all handcrafted by the troupe’s artistic director, Jason Yancey (Professor of Spanish, Grand Valley State University). As for Esther, she takes on both audience-facing and behind-the-scenes roles, acting as a performer and program curator.
With an emphasis on outreach and community engagement, a large portion of Dragoncillo’s performances are geared toward children. “I hope that children who attend Dragoncillo’s performances come away with a sense of wonder and excitement about the world of theater and storytelling,” Esther told us. “We aim to show them that art and history can be both entertaining and educational. I believe that exposing young minds to creative forms of expression fosters curiosity and critical thinking.” Of course, puppet shows are not just for children—Dragoncillo performs for adult audiences as well, and Esther takes care to consider the specific needs of each audience. For student audiences, she focuses on interactive performances that spark their interest and prompt questions, whereas for academic audiences, she emphasizes the scholarly and historical significance of the material, drawing connections between the performance and the themes of her own research.

Esther’s passion for the intersection of performance and storytelling that inspired her to join Dragoncillo is also reflected in her scholarly work. Each of her books has focused on a different aspect of early modern Spanish theater. Her first book—Eros en escena: Erotismo en el teatro del Siglo de Oro (2009)—examined the intersection of desire and performance in Spanish Golden Age theater, while her following two books—To Embody the Marvelous: The Making of Illusions in Early Modern Spain (2021) andTiteres de lo imposible: Animación, maravilla y espectáculo en la España de la modernidad temprana (2024)—addressed the theatrical creation of illusions. Her most recent books—El Alma (2024) and The Life of the Soul in Early Modern Spanish Literature and Culture (2025)—take a deeper dive into the metaphysical concept of the soul, which also intersects with the notion of transformation seen in the theater.
These previous works lay the groundwork for her current book project, A Drama in Transition: The Democratization of Spanish Classical Theater, which she is working on as an IRH fellow. The book explores how Spanish classical theater, particularly during the Golden Age, underwent significant changes in the socio-political context that contributed to its democratization. Esther argues that the movement away from strictly courtly and elite patronage toward a broader audience reflects deeper transformations within Spanish society, including the rise of new forms of social mobility.
To those in the IRH network wondering how they, too, can bring their scholarly work into the public sphere, Esther offers this piece of advice: “remember that the most profound impact often happens when you engage directly with the audience. Find ways to make your research accessible and relevant to people outside of academia—it enriches your work and makes it more meaningful.”

Given her busy schedule of writing and touring with Dragoncillo, Esther recognizes the importance of taking time to slow down. To this end, she is currently working toward becoming a certified yoga instructor, a journey she has found deeply fulfilling. “I’ve always been drawn to the meditative and grounding aspects of yoga, and I wanted to deepen my understanding of its principles,” Esther explained. “Becoming a certified instructor feels like a natural extension of my work in the performing arts, as both yoga and theater rely heavily on body awareness, mindfulness, and presence.” IRH happily volunteers itself as test subjects, should Esther wish to lead a class for us!