Galician Theater: History and Evolution
Early 20th Century Galician Theater
Galician theater emerged later, not primarily as a spectacle but as a literary genre. It remained in the background with limited social support due to the expense of staging productions. The Irmandades da Fala aimed to dignify theater, establishing the “Art Galego Nazonal Conservatory” in 1919. Authors like Cabanillas and Vilar Ponte worked there, with Armando Cotarelo Valledor as a key figure, reflecting the experiences of sailors and farmers. This generation of theater was primarily literary, with careful linguistic and structural considerations, sometimes overshadowing scenic values.
Galician Theater Between 1950 and 1965
Galician theater faced significant challenges during the dictatorship. Performances were scarce, and few authors developed their work within Galicia. The American exile became a more fertile ground for the genre, particularly through the Teatro Popular do Galego, founded by Blanco Amor and directed by Castelao. Other theater figures also grew in exile. Notable works include:
- Anxel Fole’s “Guidelines do demo” (1958), a folklore comedy.
- Luis Seoane’s “A soldadeira” (1956), which connects the past and present, depicting 20th-century peasants revolting like the early Irmandiña.
Álvaro Cunqueiro and His Theatrical Works
Álvaro Cunqueiro had a strong interest in theater, including fictional works. He was known for his classical style, often reconstructing Shakespeare’s plays. Some of his works include:
- “The role of Romeo and Xulieta” (1956)
- “A noite vai eat a River” (1965)
- “Words of Eve” (1974)
- “Xan, or conspirator bo” (1978)
- “O Don incerto Hamlet, Prince of Denmark” (1959), a work that recreates the story of Hamlet with Galician elements from the 1960s.
Cunqueiro’s Hamlet is based on Shakespeare’s, but the character is traced back to the 13th century, while Shakespeare’s recreation is from the 17th century. Cunqueiro’s version simplifies the character, focusing on internal tensions rather than external situations. He also removes the metatheater used by Shakespeare. Symbolic elements include the sale, the mood, and the choir, which represents the voice of the wind.
Galician Theater Between 1965 and 1980
The 1960s saw improved socio-economic conditions, which helped revive theatrical activities. Important groups like the Teatro group or facades (1965) and the Teatro Circo, the first independent Galician theater group, emerged. In the early 1970s, new groups appeared, and the I Mostra de Teatro de Ribadavia in 1973 became a starting point for many authors and groups.
Manuel Lourenzo
Manuel Lourenzo (Ferreira do Valadouro, 1943) is one of the most prolific and awarded Galician playwrights. His works include:
- “Romario ás Covas do demo” (1975)
- “Xoana” (1991)
- “Electra”, “O plane paranoid” (1994)
Roberto Vidal Bolaño
Roberto Vidal Bolaño (Santiago de Compostela, 1950-2002) was an actor, author, and director who cultivated symbolic drama with popular roots, often presenting a pessimistic view of life. His works include:
- “Laudamuco, lord of ningures” (1977)
- “Cars” (1992)
- “Glory Days sen” (1992)
- “Tenor Saxophone” (1993)
- “As proceedings escuros” (1997)
The Generation of the 80s
Theater began to move away from social issues, addressing new problems and perspectives. Other features included the use of metatheater, ironic humor, parody, and the presence of anonymous characters. Notable authors include:
- Xesús Ram: “W” pattern, “O king abhorred”
- Miguel Anxo Fernán Vello: “A coterie das masks”, “A house two Afogados”
The Generation of the 90s
This generation is characterized by the continuity and consolidation of previous trends, as well as the emergence of new authors who create works with simpler structures and less symbolic representation. Some renowned authors include Contacontos Cadaval, Quico Candide, Pazó, actors like Lino Braxe, and playwrights such as Miguel Cid Fitted and Anxo Murado.