20th Century Spanish Theater: From Censorship to Innovation
The End of Censorship and the Flourishing of Theater
The abolition of censorship in Spain had a profound impact on the theater. Works previously banned, such as Architect and the Emperor of Assyria or Arrabal’s The Pious Arrecogías of St. Mary of Egypt by Martin Recuerda, could finally be staged. This newfound freedom, coupled with government subsidies for theater companies and the proliferation of shows and fairs, led to a flourishing of Spanish theater.
The Transition and the Emergence of New Trends
During the Transition, two main currents coexisted. The first was a realistic aesthetic, often with a social commitment, seen in the works of authors like Buero Vallejo, Gala, Olmo, and Martin Recuerda. The second, known as “New Theater” (represented by authors like Rubial and Riaz), sought to move away from figuration and explore experimental paths.
However, the most significant contribution of this period was the rise of independent theater companies. From participatory comedy (like La Cubana) to challenging performances (like La Fura dels Baus) and musicals (like Dagoll-Dagom), these companies sought new forms of expression and aspired to create a total spectacle.
The Eighties: Diversification and Common Themes
In the eighties, both the “New Theater” and realistic trends continued. Authors like Alfredo Amestoy and Sergi Belbel further developed the tenets of “New Theater” (using symbols, dream worlds, cinematic techniques, and elements of the Theater of the Absurd). Others, like Alonso de Santos and Sanchos Sinisterra, revitalized farce, grotesque, and the comedy of manners, imbuing their plays with a poetic realism.
Despite their differences, these playwrights shared some common characteristics:
- Disillusionment with societal transformation: Their plays reflected a personal disappointment and a lack of belief in the possibility of changing society, unlike the theater of the sixties.
- Focus on the everyday and individual conflicts: They shifted away from grand collective problems and delved into the realm of the everyday, exploring personal conflicts like the search for identity and the difficulties of human relationships. Technically, they used short dialogues and colloquial language.
- Metatheatre: They explored the essence of theater itself as a theme, particularly Sanchís Sinisterra in plays like Ñaque and Ay Carmela, or the Lice Actors.
- Humor as a coping mechanism: They used comedy, irony, and even black humor to create distance from the problems of everyday life and to laugh at themselves.
The Rise of “Historic Theater”
Towards the end of the decade, “historic theater” emerged. This trend aimed to present historical events from multiple perspectives, encouraging the audience to draw their own conclusions.
The Nineties: Continuity and New Directions
The nineties saw a continuation of trends from the previous decade, but also introduced new approaches. Playwrights challenged the notion of the author as the sole creator, advocating for a theater where the stage show was as important as the text and the viewer was considered a co-creator of the work.
Prominent Playwrights
Alonso de Santos revitalized the sainete genre, presenting existential conflicts, often of marginalized characters, with ironic and macabre humor. Vallecas the Tobacconist and Get Off the Moor are emblematic of his style.
Sanchis Sinisterra continued to be a key figure in metatheatre, exploring the essence of theatricality in his realistic dramas.
Paloma Pedrero, in plays like The Call Lauren and Crazy in Love, offered a realistic view of the world and delved into the psychology of socially and psychologically displaced characters.
Sergi Belbel achieved recognition for his powerful dramas like Pats and Blood, which explored human conflicts and the complexities of relationships.
Collective Theater Groups
Collective theater groups, often with a goliardic background, emerged with the aim of presenting non-commercial theater throughout Spain. While their impact was limited due to internal challenges, they played a pioneering role. Barcelona became a hub for these companies, with Joglars, led by Albert Boadella, setting the standard. Their most successful plays included Ubu President, a political farce criticizing Catalan nationalism.
Other notable groups included La Cubana, known for their use of audiovisual elements and audience interaction in plays like Blinded by Love and Cómeme Coconut, Black; Els Comediants; Dagoll-Dagom, specializing in musical productions like Pirates; and La Fura dels Baus, whose outdoor performances encouraged active and sometimes even violent audience participation.
Commercial Theater
Finally, commercial theater aimed solely at entertainment also flourished. Santiago Moncada exemplified this trend with his comedies of evasion, focusing on themes like gender relations and eroticism, devoid of any social or political commentary. His play The Girl of No Return introduced archetypes of the seducer and relied heavily on dialogue to drive the narrative.