20th-Century Spanish Theater: From Tradition to Innovation
previous 36 theater
In the early twentieth century theater is predominantly traditional and innovative low because it is a genre that needs material and financial resources and, therefore, is conditioned by the entrepreneurs who prefer to invest in sure-fire hits. Will coexist, thus plays two lines: a traditional theatrical triumphs, heir to the canons of the nineteenth century theater, with comic tendencies and manners, and a minority theater and innovative dramatic technique and new ideological approaches.
The commercial theater, plays that followed a line favored by viewers: Jacinto Benavente: Faced with the exuberance of Echegaray, composed a work characterized by restraint in the composition of situations and characters, and the meticulous realism of the staging of his plays. These focus on the concerns of its usual audience, the gentry, and had great success with them in the first decades of the century with works such as comic Theater Special interests: He was one of the favorite among the public. Includes music, singing and dancing and brings together a large variety of species. In this vein, highlighting the brothers Alvarez Quintero (The suit of lights), the Astrakhan Pedro Muñoz Seca (Don Mendo’s revenge) and the grotesque tragedy of Charles Arniches (Mademoiselle de Trévelez).
Verse play: Follow the fleeting fashion of French theater. It addresses historical issues or modernist meters and employs fantastic. Its main proponents are Eduardo Marquina(The daughters of the Cid), Francisco VilIaespesa (The castle of pearls) and the Machado brothers (The Lola is going to ports). The first attempts at renewal stage were carried out, among other dramatists, by Jacinto Grau, who tried various ways, for Unamuno, with its theater naked and Azorin, with its alleged anti-realism. However, the Spanish theater of the first decades of the twentieth century only reached the top with the work of Valle-lnclán (Comedy Barbarian, Luces de Bohemia) and GarcíaLorca (Blood Wedding, The House of Bernarda Alba). They are the ones who achieved an undoubted quality theatrical renewal that many had claimed. His works, besides a decisive influence on later Spanish drama, yet still represent today, and increasinglyThroughout
Posterioir36
The consequences of war were felt in a very> pec i al in the Spanish theater: some authors die and Valle
) RCA, others are exiled: MAX AUB, Alejandro Casona, and also must account ~ ner i cond tioning the commercial and ideological ue of the time they are assembled only works whose success is secu r to take into oy Jenta the limits set by the censorship. These circumstances explain why the atmosphere of the theater was not the most ropicio for renewal. During the early postwar decades and develop two lines pa r alleles of theater: a theater audience, which dominates the business scenarios and that is usually fun and inconsequential, and a ~ atro underground, which is limited to theaters test, na minority has ideological orientation and aesthetic renewal. In the postwar Inmed i ties dominated the theater audience looking for fun entertainment: a seamless continuity theater that continues the line open: by Benavente (comedy lounge in predominantly legancia good tone and in speech and in the staging ) that highlight Jose
~ aria Pemán Juan Ignac i or Luca de Tena, Joaquín Calvo Sotelo, and a theater Amico, whose authors intend to renew the improbable introducing laughter,) incongruous and the absurd (Miguel Mihura, Jardiel Poncela…). In the 50 still makes the same theater but 3atro born a different line, worried that attempts to remove the nonconformist conscience ~ spañola turning to current problems, is an existential drama narco two key works: Historia de una escalera, Buero Vallejo y: scuadra to deathBy Alfonso
Already in the 60 there are two sides of authors, some which: onsidered a great public success and cultivating the new bourgeois comedy,: omo Alfonso Paso, JJ Alonso Millán and Antonio Gala, and others who focus on their r! EDICAL critical problems of the dispossessed under the dictatorship and its 1mbientes are popular; is a current social drama which denounces; ap i fundamentalism emerging use language carefully and yet simplePopular. r l a and the business organization hindered the contact with the public, O l mo jestacan Lauro and Jose Martin Recuerda.
In the 70 open several fronts in the Spanish theater: a theater is created that enhances the expres NDEPENDENT i on corpo r at (JoglarsEls ~ omediants) highlights two major avant-garde playwrights such as Fernando Arrabal nternational that c r ea so-called ‘theater panic’,: characterized by the the confus i on, humor, te r ror, the azar and euphoria, and r rancisco Nieva, whose Producc connects i o n e l r or l teat absurd, but> there henever posi b ili v ac tion of salt i o n; Ta m b i n otor i én is tol l jramaturgos Abor of symbolism as it is ca t r acter i zan by a sharp cutting edge tone, a fish market ma r i m i sm o e l e u t fr ecuen so the animal symbolism, said Jose Ru i bal, Lu i s Riaza…; By 1975 published authors that address contemporary issues with a realistic and i ca estét a moderate formal renewal, as Fernando Fernan Gomez, Ana Diosdado and Jose Luis Alonso de Santos.