Introduction: In this paper, Ehrlicher et al. follow a quantitative approach to unveil possible structural parallelisms between 13 comedies and 10 autos sacramentales written by Calderón de la Barca. Comedies are analyzed within a comparative framework, setting them against Spanish comedia nueva and French comedie precepts. Authors employ tool DramaAnalysis and statistics for their examination, focusing on: word frequency per subgenre, average number of characters, their variation and discourse distribution, etc. Autos sacramentales are also evaluated through these indicators. Regarding comedies, Ehrlicher et al.’s results show that Calderón: a) plays with units of space and time depending on creative and dramatic needs, b) does not follow French comedie conventions of character intervention or linkage, but c) does abide by its concept of structural symmetry. As for autos sacramentales, their findings brought forth that these have a similar length and character variation to comedies. However, they also identified the next difference: Calderón uses character co-presence in them to reinforce the message conveyed. Considering all this, authors confirm that Calderón’s comedies disassociate from classical notions of theatre – both Aristotelian and French –ideals. With respect to autos sacramentales, they believe further evaluation would be needed to verify ideas put forward and identify other structural patterns.