20th Century Spanish Drama: From Modernism to the Grotesque

Posted on Sep 10, 2024 in Latin

ITEM 9. Spanish Drama of the First Half of the 20th Century: Ramón María del Valle-Inclán

1. Historical Background

The disaster of 1898, marked by the loss of the last remnants of Spanish colonial rule, ushered in an era of economic crisis and isolationist foreign policy. Spain lagged behind its European counterparts in industrialization, remaining a backward, rural nation. While Spain did not participate in World War I (1914-1918), the conflict exacerbated political instability and social divisions within the country. Primo de Rivera’s coup d’état brought a semblance of stability, but the proclamation of the Republic in 1931 led to further turmoil. The Spanish Civil War, ignited by a coup in 1936, shattered the Republic. Although the war ended in 1939, peace remained elusive, and the devastating conflict plunged the country into economic hardship.

2. Literary Introduction

The dawn of the 20th century in Spain witnessed the convergence of two prominent aesthetic movements: Modernism and the Generation of ’98. Modernists sought refuge in refined artistry, rebelling against the perceived prosaic nature, lack of fantasy, vulgarity, and disregard for beauty that they saw in contemporary art. The colonial disaster of 1898 fueled a fervent desire for national regeneration. Spanish literature of the 20th century saw the continuation of Novecentismo (Generation of 1914) and the emergence of Avant-garde movements, both of which made significant cultural contributions. However, during the first half of the century, Spain’s isolation from European culture, coupled with its economic and cultural struggles, hindered the development of innovative drama. The commercial interests of theater entrepreneurs dictated a theatrical style resistant to evolution, leading many playwrights to abandon the modernity of their original works and cater to the tastes of the bourgeois audience.

3. Commercial Theater of the Early 20th Century

  • High Comedy: This genre, exemplified by Jacinto Benavente, reflected the conflicts and behaviors of the upper class. While offering mild criticism of bourgeois morality, it did not challenge the established social order. Plays in this style featured opulent settings and refined language. Benavente’s works, such as The Malquerida and Vested Interests, displayed his mastery of dramatic structure and his sharp, witty dialogue.
  • Poetic Theater: This genre blended romantic historical drama with modern language and a focus on sensory experience. It evoked a nostalgic longing for the imperial past, extolling the virtues of national heroes and drawing inspiration from noble legends and historical events. Eduardo Marquina, with plays like The Daughters of the Cid, emerged as a prominent figure in this style.
  • Humorous Theater: Characterized by its picturesque portrayal of reality, use of slang, and lighthearted humor, this genre provided audiences with easy entertainment. Playwrights like Carlos Arniches, Pedro Muñoz Seca, and the Alvarez Quintero brothers excelled in this style. Their plays typically featured simple plots, relatable characters with amusing dialects, and resolutions that left audiences feeling good.

4. Theater of Renewal in the First Third of the Century

Despite the dominance of commercial theater, some playwrights sought to break free from existing theatrical forms and introduce innovative and daring themes that were gaining traction in other European countries. However, these attempts at renewal often met with resistance from audiences accustomed to traditional forms, resulting in limited commercial success.

Modernism, Generation of ’98, and Novecentismo

  • Miguel de Unamuno (Generation of ’98): Unamuno’s plays, influenced by classical tragedy, were characterized by their starkness, minimalist plots, and philosophical depth.
  • José Martínez Ruiz (Azorín) (Generation of ’98): Azorín aimed to modernize Spanish theater and align it with European trends. His plays incorporated symbolism and explored unreal elements.
  • Other Notable Playwrights: This period also saw the emergence of other significant figures, including Ramón María del Valle-Inclán, Jacinto Grau, and Ramón Gómez de la Serna, who challenged theatrical conventions and pushed the boundaries of dramatic expression.

Generation of ’27

Many playwrights associated with the Generation of ’27 produced their most significant works while in exile. They shared a belief in the social power of theater and used their plays to address social and political issues.

  • Prominent Authors: Pedro Salinas, Miguel Hernández, Max Aub, Alejandro Casona, Rafael Alberti, and Federico García Lorca were among the leading figures of this generation.

Federico García Lorca

Widely regarded as one of the most influential poets and playwrights of 20th-century Spanish literature, Lorca is considered a towering figure in Spanish theater, alongside Valle-Inclán and Antonio Buero Vallejo. His works are imbued with a profound sense of unease and the pain of existence. Common themes in his plays include love, frustration, the struggle between instinct and societal norms, death, and the repression of desires. Lorca’s plays often explore the themes of time, death, and the constraints imposed by society.

Characteristics of Lorca’s Plays:
  • Poetic and Evocative Language: Lorca’s plays are renowned for their lyrical language, which seamlessly blends poetic imagery with colloquialisms.
  • Avant-Garde Elements: Lorca embraced experimentation and incorporated elements of avant-garde theater into his works.
  • Use of Verse and Prose: Lorca’s plays fluidly transition between verse and prose, creating a dynamic and engaging theatrical experience.
Lorca’s Theatrical Career:
  • Early Modernist Influences: Lorca’s early plays showed the influence of Modernism.
  • Experimentation with Farce: In the 1920s, Lorca explored the genre of farce, writing plays for both puppets (e.g., The Puppet Play of Don Cristóbal) and actors (e.g., The Love of Don Perlimplín and Belisa in the Garden, The Shoemaker’s Prodigious Wife).
  • The Public and Thus Five Years Pass, which challenged theatrical conventions and explored dreamlike scenarios.
  • Mature Tragedies and Dramas: Lorca’s most celebrated works are his tragedies and dramas, which delve into the depths of human emotion and explore themes of love, loss, and social injustice. Notable examples include:
    • Blood Wedding and Yerma (Tragedies)
    • Doña Rosita the Spinster (Urban drama about female frustration and unfulfilled love)
    • The House of Bernarda Alba (Exploration of themes of repression, desire, and social constraints)

5. Overview of Spanish Drama After the Civil War (1939-1949)

The Spanish Civil War cast a long shadow over the arts. Strict censorship, risk-averse producers, and a public wary of confronting challenging social and political realities on stage stifled innovation in theater. Variety shows and lighthearted folk plays became commonplace. It wasn’t until the premiere of Antonio Buero Vallejo’s Story of a Staircase in 1949 that Spanish theater experienced a significant resurgence.

Theater Immediately Following the War:

  • Focus on the Middle Class: Plays often centered around middle-class characters living in affluent, cosmopolitan settings.
  • Repetitive Themes: Love, jealousy, infidelity, family disputes, and other domestic issues dominated the thematic landscape.
  • Superficial Satire: While some plays attempted satire, it tended to be mild and inoffensive.
  • Happy Endings: Escapism prevailed, and plays typically concluded with resolutions that provided audiences with a sense of hope and optimism.

Intellectual Humor Theater:

Amidst the prevalence of escapist theater, a few playwrights emerged who sought to inject fresh perspectives and intellectual depth into the genre of comedy. They experimented with absurdity, poetry, and unconventional humor, often to the bewilderment of audiences accustomed to more traditional forms.

  • Enrique Jardiel Poncela: A true innovator of humorous theater, Jardiel Poncela rejected sentimentality and challenged theatrical conventions. His play Angelina or The Honor of a Brigadier exemplifies his unique style.
  • Miguel Mihura: A precursor to the Theater of the Absurd, Mihura’s plays combined elements of comedy and avant-garde experimentation. Three Top Hats marked a departure from traditional theater, satirizing the routines and mediocrity of bourgeois life.

6. Ramón María del Valle-Inclán

A prominent playwright, poet, and novelist, Valle-Inclán played a pivotal role in the Modernist movement in Spain. Recognized as one of the most important figures in 20th-century Spanish literature, his plays stand out for their radical innovation, shattering the formal and thematic conventions of his time. Some of his works were considered too unconventional for staging due to their experimental nature.

Valle-Inclán’s Theatrical Evolution:

  • First Stage: Modernist Poetic Drama: Valle-Inclán’s early plays were written in verse, often set in the Middle Ages, and bore the influence of Nicaraguan poet Rubén Darío.
  • Second Stage: Towards the Grotesque: This transitional phase marked a shift towards a more critical and aggressive tone. Valle-Inclán’s language became more stark and direct as he explored themes of death, cruelty, and moral decay. Notable works from this period include Eagle Crest, Romance of Wolves, and Silver Face.
  • Third Stage: The Grotesque: The premiere of Bohemian Lights in 1920 marked the emergence of Valle-Inclán’s signature style, which he termed”esperpent” (grotesque). This new aesthetic went beyond a mere literary genre; it represented a distinct way of perceiving and portraying the world. For Valle-Inclán, esperpento highlighted the absurdity of existence, distorting reality to expose its grotesque underbelly. Through this lens, he launched a scathing critique of contemporary Spain and its institutions, presenting a world turned upside down.

Elements of Esperpento:

  • Deformation and Caricature: Valle-Inclán distorted reality, exaggerating and deforming his characters to highlight their grotesque qualities. Characters were often reduced to animalistic representations, puppets, or caricatures of their former selves.
  • Contrasting Pain and the Grotesque: Valle-Inclán juxtaposed moments of genuine suffering with elements of absurdity and dark humor, creating a jarring and unsettling effect.
  • Bitter Humor: Laughter in Valle-Inclán’s plays is rarely lighthearted. It often serves as a coping mechanism for characters facing hardship and injustice, highlighting the absurdity of their situation.
  • Linguistic Variety: Valle-Inclán masterfully employed a wide range of linguistic registers, from pedantic and pretentious language to slang, colloquialisms, and the distinct dialect of Madrid. His dialogue was often ironic, satirical, and filled with literary allusions.
  • Literary Dimensions: Valle-Inclán’s stage directions transcended mere functionality, often reading like literary texts in their own right. They provided detailed descriptions of the characters, setting, and atmosphere, contributing to the overall grotesque aesthetic.

Bohemian Lights: A Prime Example of Esperpento

  • Plot: The play follows the final hours of Max Estrella, a blind poet, as he wanders through the streets of Madrid with his companion, Don Latino. Their journey becomes a descent into a world of pain, injustice, and despair. Exhausted and defeated, Max dies at the doorstep of his own home, while Don Latino steals his wallet.
  • Themes and Purpose: Bohemian Lights offers a glimpse into the bohemian underbelly of Madrid through the tragic fate of Max Estrella. Beneath the grotesque humor and caricature lies a profound sense of social criticism and rebellion against the harsh realities of Spanish society. Valle-Inclán uses esperpento to expose the hypocrisy, corruption, and indifference that he saw around him.

Ramón María del Valle-Inclán’s innovative use of esperpento left an indelible mark on Spanish theater. His plays continue to challenge and provoke audiences, offering a unique and unsettling perspective on the human condition.