Analysis of a Spanish Play: Characters, Themes, and Literary Context
ACT ONE (1920)
Scene 1
- Generous
- Gregory
- Carmina
- Foo.o
Scene 2
- Manuel
- Elvira
Scene 3
(No characters listed)
ACT TWO (1930)
Scene 1
- Generous
- Carmina
Scene 2
- Elvira
- Fernando
- A baby
Scene 3
- Paca
- John Urban
- Trini
Scene 4
- Rosa
- Pepe
ACT THREE
Scene 1
Office
Scene 2
- Elvira (50)
- Fernando (50)
- Fernando’s son (20)
- Manolin (12)
Scene 3
- Paca (75)
- Urban (50)
- Carmina (50)
- Carmina’s daughter (18)
- Trini (40)
Scene 4
Office
Story Summary
The second act commences around 1930, following the absence of Don Gregory (husband of Miracles). Previously, Don Manuel and Asun were also absent. Elvira confronts Fernando, stating, “If I’d known you were not spoiled.” Fernando retorts, “You’ve always been a capricious woman without education.” Rosa appears thin and pale, prompting Pepe to criticize her for partying after her father’s death. He advises, “Do not get so carried away.” Trini criticizes Pepe for his actions while his father was ill. A physical altercation ensues between Urban and Pepe, with Urban grabbing Pepe by the lapels and striking him. Rosa, defending Pepe, calls Urban an imbecile. John questions Pepe, “Why don’t you take her to another house? You had to stay here and make life miserable!” Paca, referring to Pepe, asks, “And you associate with this garbage?” Carmina expresses her sympathy for Urban, saying, “I wouldn’t want to see you spend a single day in deprivation.” She reveals her intention not to marry, but Center proposes, “If you accept me, I will stay.” Carmina responds, “It would give the old man a little joy in his remaining years.” Trini observes the developing relationship between Urban and Carmina, commenting to Juan, “Did you see how Rose defended that bandit?” John gives Trini money to deliver to Rosa. Paca, noticing the changed dynamic between Urban and Carmina, discusses it with Trini. Trini goes to Rosa’s house to give her the money. Elvira and Fernando disagree about paying their respects to Carmina and Generous, with Elvira hesitant to offer condolences. Elvira sends her children to Carmina, and Urban tells Carmina, “Let them go with Nena.” The building now houses new occupants, a young woman and a man, unconnected to the property’s history. Manolin lights a cigarette, and Rosa is overwhelmed by being home. Trini expresses her desire for Manolin to quit smoking and confesses her love for him. Fernando’s son, now 20, confronts Carmina’s daughter for avoiding him. She explains that they cannot be together because their parents disapprove. Fernando’s son is upset that Manolin overheard the conversation, leading to a confrontation. Fernando and Elvira had previously forbidden their son from seeing Carmina. Frustrated, Fernando’s son exclaims, “What have I got to do with our prejudices and resentments?” Rosa laments, “I hit 30 and realized that nobody wants me.” Trini expresses her longing for a child. Rosa reflects, “Things never happen as we wish.” Urban criticizes his son, saying, “Your son is a slacker. I don’t want to hear you say his name.” Center questions Carmina, “Why did you marry me if you didn’t love me?”
Literature
- Gabriel Celaya: Known for his poetry of social concern.
- Dámaso Alonso: Author of Children of Wrath.
- Jaime Gil de Biedma: Known for his experimental poetry.
- Carmen Laforet: Author of Nada (Nothing).
- Miguel Delibes: Author of El camino (The Road).
- Camilo José Cela: Author of La familia de Pascual Duarte (The Family of Pascual Duarte) and La colmena (The Hive). He was known for his unruly behavior and won the Nobel Prize.
- Miguel Hernández: Author of Rayo que no cesa (Unceasing Lightning).
- Vicente Aleixandre: Won the Nobel Prize.
- Luís Martín-Santos: Author of Tiempo de silencio (Time of Silence).
- Rafael Sánchez Ferlosio: Author of El Jarama.
- Enrique Poncela: Playwright known for Eloísa está debajo de un almendro (Eloise is Under an Almond Tree) and his exploration of themes related to the “femme fatale.”
- Miguel Mihura: Playwright known for his comedies and absurdist humor.
- Alejandro Casona: Playwright known for La casa de los siete balcones (The House of the Seven Balconies).
- Garcilaso de la Vega: A key figure in Spanish Renaissance literature, known for his pastoral poetry and influence on the”garcilas” style.
- Laura Olmo: Playwright known for La camisa (The Shirt).
- Max Aub: Author of El laberinto mágico (The Magic Labyrinth).
- Eugène Ionesco: Playwright associated with the Theatre of the Absurd.
- Francisco Ayala: A prominent figure in 20th-century Spanish literature, known for his novels and essays.
- Antonio Buero Vallejo: Playwright known for his social realism and exploration of existential themes.
- Alfonso Sastre: Playwright associated with social realism and political theater.
- José María Pemán: Playwright and novelist associated with conservative and Catholic themes.
- José López Rubio: Playwright known for his comedies and collaborations with Enrique Jardiel Poncela.
- Enrique Jardiel Poncela: Playwright known for his humorous and absurdist plays.
- Carlos Arniches: Playwright known for his comedies and depictions of Madrid life.
- Jacinto Benavente: Playwright known for his social comedies and winner of the Nobel Prize.
- José Ángel Valente: Poet known for his intellectual and philosophical poetry.
- Fernando Arrabal: Playwright associated with the Theatre of the Absurd and experimental drama.
- Francisco Nieva: Playwright, set designer, and director known for his avant-garde and visually striking productions.
- Luis Rosales: Poet associated with the Generation of ’36.
- Mercedes Perito: Poet known for her collections Harris in the Moon.
- Blas de Otero: Poet associated with social realism and existential themes.
Themes and Concepts
- Social Realism: Many playwrights of this era, such as Buero Vallejo and Alfonso Sastre, focused on portraying the realities of everyday life, social issues, and the struggles of ordinary people.
- Existentialism: The postwar period saw a rise in existentialist themes in literature, exploring questions of identity, purpose, and the human condition.
- Absurdism: Playwrights like Mihura and Arrabal embraced elements of the Theatre of the Absurd, using humor, illogical situations, and unconventional language to highlight the absurdity of the human condition.
- The”Tremendist” Style: This style, often associated with Camilo José Cela, emphasized grotesque and exaggerated elements to depict the harsh realities of postwar Spain.
- Censorship: During the Franco regime, censorship heavily influenced artistic expression. Playwrights and authors often had to find creative ways to address social and political issues indirectly.
- The Generation of ’27: This influential group of poets and writers, including Federico García Lorca, Rafael Alberti, and Vicente Aleixandre, emerged in the 1920s and had a significant impact on Spanish literature.
- The Generation of ’36: This generation of writers, including Miguel Hernández and Luis Rosales, came of age during the Spanish Civil War, and their work often reflected the social and political turmoil of the time.
- The Postwar Period: The aftermath of the Spanish Civil War (1936-1939) had a profound impact on Spanish society and culture. Literature of this period often explored themes of loss, trauma, and the search for meaning in a changed world.