Joan Oliver’s Catalan Theater: A Critical Analysis
Joan Oliver’s Catalan Theater
Bourgeois Comedy and Social Criticism
Bourgeois comedy emerged in 19th-century France as a successful formula for dramatic theater. This “well-made play” structure entertained the bourgeoisie while reinforcing their ideology. It is a genre known for its careful construction and impactful effects.
Frivolous vs. Critical Theater
In contrast to frivolous, French-inspired “magazine” plays showcasing societal vices, a more critical form of theater emerged. This genre offered a sharper critique of society and its mechanisms.
Joan Oliver: A Critical Voice
Joan Oliver (born Pere IV, November 29, 1899, in Sabadell), from a high-bourgeois background, became a prominent figure in this critical movement. Several factors influenced his theatrical work:
- The difficulty of theatrical production in Catalonia, due to limited tradition and continuity, exacerbated by the Spanish Civil War.
- A rebellious spirit that led him to reject his own social class, a theme central to his criticism of bourgeois values.
- A commitment to moral and ethical engagement with society and country, using satire and parody as his primary weapons.
Oliver adopted elements of traditional Catalan bourgeois comedy but subverted them to deliver harsh criticism. He rejected the ornate style of Noucentisme, opting for a more natural and flexible language, incorporating colloquialisms and even vulgarisms to mimic conversational speech.
Evolution of Oliver’s Theater
First Stage (1928-1936)
Oliver’s early works formally adhere to bourgeois comedy techniques but incorporate critical realism. Characters often represent negative bourgeois traits, presented schematically. What Perhaps Happened, from 1938, exemplifies this stage, with its increased focus on political theater during the Civil War.
Second Stage (Post-Civil War)
The post-Civil War period brought hardship and suppression for Catalan theater. Authors faced exile or prohibition, and translations were banned, leading to isolation. By the 1960s, new theater groups emerged, disseminating European trends. Oliver’s later works became less schematic, with fewer scenes and a shift in tone. His earlier pessimism gave way to a renewed optimism.
Character Analysis of What Perhaps Happened
- Cain: An articulate, mature, and rebellious artist who challenges established norms.
- Cherub: The angel tasked by God with imposing prohibitions.
- Eve: A kind, tender, and hardworking woman.
- Adam: A selfish, weak, and nostalgic character clinging to the past.
- Nara: A feminine figure representing temptation, the center of conflict between the two brothers.
- Abel: Cain’s opposite – weak, jealous, and cowardly, lacking imagination and ambition.
Key Themes
- Authoritarianism: Represented by paternal and divine authority, with Adam’s arbitrary decision to kill Nara in the fratricidal conflict.
- The Biblical Myth: Oliver reinterprets the first chapters of Genesis, offering a critical perspective on bourgeois family relationships.
Introduction to What Perhaps Happened
This one-act play, premiered in 1936 (first version) and 1977 (second version), uses the structure of bourgeois comedy to deliver social criticism. Oliver draws inspiration from Genesis, but inverts the traditional valuation of characters. The story, centered on Cain, unfolds over a single Sunday in June, reflecting the author’s ideology and thoughts.