20th Century Theater: From Expressionism to Experimentalism

Posted on Sep 30, 2024 in Latin

Theater After 1939

1) Renovation of the European Scene

In the 20th century, reform movements proliferated in the arts and theater, leading to unprecedented changes in styles, the incorporation of new elements, and the exploration of innovative forms and techniques. These changes significantly influenced contemporary Spanish theater, as well as European and American directors.

Expressionist Theater

Expressionism, a prominent avant-garde movement that flourished in Germany between 1910 and 1925, emphasized subjectivity, discontent, and the need for a more compassionate society. Its favored themes included critiques of bourgeois society, generational struggles, war, slavery, and shadows. It drew inspiration from medieval drama, farce, and puppet theater.

Epic Theater

Founded by Bertolt Brecht in the 1920s, Epic Theater focused on political and social drama. It aimed to both instruct and entertain audiences, employing a critical spirit. Actors maintained a distance from their characters, avoiding the creation of an illusion of reality and presenting the story through a series of scenes.

Theater of Cruelty

Created by Antonin Artaud, the Theater of Cruelty sought to dismantle the dominance of text and reclaim the fullness of language by incorporating objects, gestures, sounds, lights, and colors. It often depicted poverty and violence.

Theater of the Absurd

Influenced by playwrights like Eugène Ionesco (The Bald Soprano) and Samuel Beckett (Waiting for Godot), the Theater of the Absurd reflected existentialist philosophy. It aimed to express the anguish and absurdity of existence. The plays typically lacked intricate plots and emphasized philosophical reflection.

Experimental Theater

Experimental Theater sought new scenic forms, treating theater as a spectacle. It placed significant emphasis on visual and sound elements.

2) Overview of Spanish Theater in the Second Half of the 20th Century

The end of the Spanish Civil War and the establishment of an authoritarian regime led to the suppression of critical voices in the arts. Texts and plays were subject to censorship, resulting in the flourishing of conformist authors. Alongside the “visible” theater, an “underground” theater emerged, though it rarely received public attention.

Postwar Theater Stages (1940s-1950s)

  • Persistence of high comedy in commercial theater with Enrique Jardiel Poncela.
  • Emergence of Miguel Mihura’s unconventional and serious theater.
Key Dates:
  • 1949: Antonio Buero Vallejo’s Historia de una escalera (Story of a Staircase).
  • 1953: Alfonso Sastre’s Escuadra hacia la muerte (Death Squad).

In the mid-1950s, social realist and committed drama gained prominence, criticizing and denouncing social issues wherever possible. This “testimonial theater” often resorted to formal masks to circumvent censorship, though some works were still prohibited.

Prominent Playwrights:
  • Jacinto Benavente: A gentrifying author who created sophisticated theater for affluent audiences. His work avoided critical or thought-provoking themes.
  • “Vested Interests” Humor Theater:
    • José María Pemán: El coqueteo y Doña Inés (The Flirtation and Doña Inés)
    • Joaquín Calvo Sotelo: Micaela
    • Juan Ignacio Luca de Tena: ¿Dónde vas, Alfonso XII? (Where Are You Going, Alfonso XII?)
    • José López Rubio: Celos del aire (Jealousy of the Air)
  • Enrique Jardiel Poncela: Sought to renew comedy by breaking with tradition. He advocated for an improbable, absurd, fantastical theater that opposed bourgeois realism. His work often explored the theme of love. Notable plays include Tú y yo somos tres (You and I Are Three) and Los ladrones somos gente honrada (Thieves Are Honest People).
  • Miguel Mihura: Associated with the Theater of the Absurd, Mihura’s work employed parody and caricature. His plays can be categorized into three phases:
    • “Three Hats”
    • “Neither Poor Nor Rich But Quite the Opposite”
    • “Peaches”

3) Realistic Theater: Buero Vallejo and Alfonso Sastre

Both Antonio Buero Vallejo and Alfonso Sastre opposed the “theater of evasion,” a style that ignored the pressing problems of Spanish society. Their works confronted the realities that many preferred to avoid.

Antonio Buero Vallejo (1916-2000)

Born in Guadalajara, Buero Vallejo experienced hardship when his father and brother, who held conservative views, were executed. He himself, holding republican ideals, was arrested in 1939 and sentenced to death, later commuted to life imprisonment. He was eventually released on probation. Buero Vallejo received the Lope de Vega Prize and the Cervantes Prize. He is considered one of the most significant postwar playwrights.

Buero Vallejo’s work explored human, social, and existential issues. His preferred genre was tragedy. His theater emphasized the need for truth, freedom, and hope. His writing can be divided into three stages:

  1. Realistic Stage: Focused on contemporary reality, depicting real-time events in specific locations. Notable plays include Historia de una escalera (Story of a Staircase, 1949), En la ardiente oscuridad (In the Burning Darkness), and Hoy es fiesta (Today is a Holiday).
  2. Stage of Historical Reflection: Explored historical themes to reflect on the present. This allowed him to circumvent censorship and reach a wider audience. This stage introduced the concept of “theater of possibility.” Key works include Un soñador para un pueblo (A Dreamer for a People), Las Meninas, and El concierto de San Ovidio (The Concert of Saint Ovid). This period saw the use of temporal discontinuity and abstract settings, exploring the fate of individuals in an unjust society. La doble historia del doctor Valmy (The Double History of Doctor Valmy) serves as a transitional work.
  3. Last Stage: Employed a subjective point of view, often featuring characters experiencing physical or mental challenges. La Fundación (The Foundation) is a representative work of this stage.

Alfonso Sastre (1926-2021)

Born in Madrid, Sastre studied art and engaged in theatrical activities. His extensive theatrical production can be divided into three periods:

  1. First Period (1945-): Dramas of frustration, exploring human limitations. Characters exist outside of historical context. This period showcased innovative dramatic techniques. Notable plays include Cargamento de sueños (Cargo of Dreams) and Uranio 235.
  2. Second Period (1950-): Focused on social critique and change. Works reflected socialist humanism, presenting harsh dramas of opportunity from a social perspective. Key plays include Escuadra hacia la muerte (Death Squad), La mordaza (The Gag), and Muerte en el barrio (Death in the Neighborhood).
  3. Third Period (1962-): Moved away from realism, adopting a distanced and ironic approach. Narrative elements were incorporated into the plays. Notable works include Sangre y ceniza (Blood and Ashes) and El banquete (The Banquet).
Other Realistic Authors:
  • José Martín Recuerda: Las salvajes en Puente San Gil (The Savages at Puente San Gil)
  • Lauro Olmo: La camisa (The Shirt)
  • Carlos Muñiz: El tintero (The Inkwell)
  • José María Rodríguez Méndez: Los sucesos de Moncloa (The Moncloa Incidents)
Features of Realistic Theater:
  • Themes: Social injustice, exploitation, struggles of the disadvantaged, intolerance, and violence.
  • Direct and violent language.
  • Tone of bitterness and despair.
  • Use of farce and elements of sainete (a Spanish theatrical genre).
  • Focus on victims as protagonists.
  • Rejection of avant-garde and Theater of the Absurd.

4) Experimental Theater of the 1960s and 1970s

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