Spanish Post-Civil War Theater: From Existentialism to the Avant-Garde
Spanish Post-Civil War Theater
The 40s: A Struggling Scene
Following the Spanish Civil War (1936-1939), theater was severely impacted. Authorities saw it as a tool for healing, leading to the production of low-quality, ideologically driven plays. Classics, especially from the Golden Age, were revived alongside translated foreign works. The absence of prominent playwrights like Lorca, Alberti, Casona, and Aub, who were either deceased or exiled, further contributed to the overall decline in quality.
A notable exception was the emergence of commercial, comedic theater, aiming to provide laughter and escapism. Miguel Mihura’s innovative humor stood out, with his masterpiece, Three Top Hats (premiered in 1952), satirizing provincial bourgeois life and the vaudeville scene.
The 50s: Existentialism and Social Realism
The 1950s saw the rise of realistic theater that aimed to challenge the dictatorship and address social issues. Playwrights like Alfonso Sastre (Squadron to Death, Gag) and Lauro Olmo (The Shirt) explored themes of injustice, exploitation, and the struggles of the marginalized.
Antonio Buero Vallejo emerged as a key figure with three distinct phases in his work:
- Existential Stage: Reflecting on the human condition in plays like Historia de una escalera (1949) and In the Fiery Darkness (1950).
- Social Theater: Critiquing social injustices in works like A Dreamer for a People, The Concert of San Ovidio (1962), and The Skylight (1967).
- Innovation Stage: Experimenting with techniques like “immersion effects” in plays like The Sleep of Reason, Arrival of the Gods, The Foundation (1974), The Denotation (1977), Judges at Night (1979), Lazarus in the Labyrinth (1986), Music Nearby (1989), and Random Traps (1994).
The 60s and 70s: Commercial Success and Experimental Theater
Commercial theater continued to thrive with comedies by Mihura, Jaime Salom, Jaime de Armiñan, and Ana Diosdado. Antonio Gala gained popularity with works like The Green Fields of Eden (1963), Rings for a Lady, The Harps Hung from Trees, and Do You Run, Ulysses?
Simultaneously, a wave of experimental theater emerged, rejecting social realism and exploring new aesthetics. These playwrights often faced censorship and struggled to find audiences due to their formal daring. This “underground theater” included:
- Fernando Arrabal: Known for his surrealism, childlike language, and illogical narratives in plays like The Tricycle (1953), The Labyrinth (1956), and Hey, Patria, My Sorrow (1975).
- Independent Theater Groups: “Los Goliardos,” “Tábano,” “Teatro Libre” in Madrid, “Els Joglars,” “Els Comediants,” and “La Fura dels Baus” in Barcelona, and “Akelarre” in Bilbao.
Post-1975: Institutionalization and New Voices
The end of the dictatorship brought hope for a theatrical renaissance, but instead, a crisis unfolded. However, it also led to the establishment of theatrical institutions like the National Drama Center (1978), the National Scenic New Trends, and the National Classical Theater Company.
Francisco Nieva became a prominent figure in experimental theater, exploring surrealism, fantasy, and imagination. His works are categorized as “chronic and picture theater, theater of farce and calamity,” and “furious theater.” Notable plays include Storm Hair (1972), Nosferatu (1975), and The Dance of the Fiery (1990).
Other significant playwrights of this era include:
- José Sanchis Sinisterra: Ay, Carmela! (1986)
- José Luis Alonso de Santos: Get off the Moor (1985)
- Fernando Fernán Gómez: Bicycles are for Summer
- Paloma Pedrero: Besos de lobo (1991)
- Ignacio Amestoy: Close While the Door (2002)
Spanish theater after the Civil War navigated a complex path, from the struggles of the 40s to the emergence of existentialism and social realism in the 50s, the experimentation of the 60s and 70s, and the institutionalization and new voices of the post-Franco era. Despite challenges, it continued to evolve, reflecting the changing social and political landscape of Spain.