Spanish Theater After the Civil War
Spanish Theater After the Civil War (1939-1970s)
The evaluation of Spanish theater, like that of narrative and lyric genres, is heavily influenced by the Civil War (1936-1939) and its dramatic consequences. From 1939 onward, the Spanish theatrical scene was marked by the exile of prominent writers such as Max Aub, Rafael Alberti, and Pedro Salinas, and the tragic loss of playwrights like Federico García Lorca, Ramón María del Valle-Inclán, and Miguel Hernández.
1. Postwar Theater (1939-1949)
In the postwar years, the Spanish theater scene was dominated by a “national” style that served the dictatorship. Meanwhile, exiled playwrights continued their work outside of Spain. During this period, theater had two primary functions:
- Entertainment: The public sought escapism rather than reminders of the recent tragedy.
- Ideological Transmission: The regime used theater to promote its values and control narratives.
This led to strict censorship and self-censorship among playwrights. Criticism often functioned as a tool for ideological control, advising and warning authors. Despite abundant theatrical activity, the quality was generally mediocre.
Bourgeois Comedy
This genre aimed to entertain and educate the public by praising traditional virtues. It was characterized by its well-structured plots, lighthearted humor, and focus on the bourgeoisie. Plays were typically divided into three acts, often set in a single location, and featured detailed stage directions.
Humor Theater
This style flourished by distancing itself from the harsh realities of the time. Two major figures were:
- Enrique Jardiel Poncela: His plays were characterized by a carefree atmosphere, elaborate stage directions, and numerous characters, often featuring the servant/master dynamic. Dialogue was fast-paced and relied on both verbal and situational humor. Notable works include Four Hearts with Brake and Reverse (1936) and A Round Husband (1939).
- Miguel Mihura: His work idealized life by humanizing characters and emphasizing the triumph of goodness and tenderness. Like Jardiel, his plays often restored normalcy by the end and incorporated elements of mystery. Mihura’s humor stemmed from exaggeration, distortion of logic, and the idea that multiple explanations are possible. Three Hats (1952), his most famous play, explores the conflict between a formal, respectable man and the free-spirited, bohemian world.
2. The Rise of Realism (1949-1960s)
The 1949 premiere of Antonio Buero Vallejo’s Historia de una escalera (Story of a Staircase) marked a turning point. This play ushered in realistic drama, which used relatable settings, plots, and characters to address the realities of Spanish society.
Characteristics of Realistic Drama:
- Complex staging, often depicting multiple spaces within a single set.
- In-depth character development, focusing on complex individuals struggling to defend their ideals.
Antonio Buero Vallejo
Buero Vallejo is considered the most significant postwar Spanish playwright. He sought to create a modern Spanish tragedy that was ultimately hopeful. His works blended realism and symbolism, featuring characters in conflict with each other and their circumstances. He often used the technique of “immersion” to draw the audience into the protagonist’s inner world.
Historia de una escalera unfolds in the same setting—the staircase of a tenement building—across three different time periods (1919, 1929, and 1949). It portrays the lives of characters trapped by poverty and societal limitations, highlighting their frustrations and inability to escape their circumstances.
Alfonso Sastre
Sastre was a politically engaged playwright who advocated for the renewal of Spanish theater. He formed the “Theater of Social Agitation” in 1950. His play Squad depicts a group of soldiers rebelling against authority, reflecting the distrust and confusion surrounding the Civil War.
José Martín Recuerda
Recuerda’s documentary theater was characterized by its sharp, critical tone and intense emotional impact. However, due to its challenging content and difficulty in staging, it was rarely performed.
3. The Pioneers of the Avant-Garde (1950s-1960s)
Influenced by the Theater of the Absurd and the Theater of Cruelty, two Spanish playwrights created innovative and challenging works that struggled for acceptance within the established theater scene.
Fernando Arrabal
Arrabal’s early works were characterized by their minimalist staging and exploration of the impossibility of communication. He often used ritualistic elements to express the alienation and absurdity of the human condition.
Francisco Nieva
Nieva’s plays examined the relationship between individuals and a repressive society that hindered their self-expression and fulfillment. His works were often fragmented, featuring numerous short scenes and frequent changes in scenery, reminiscent of Valle-Inclán’s style.
4. The Emergence of Independent Theater (Late 1960s-1970s)
In the late 1960s, university theater groups evolved into what became known as independent theater. This movement rejected the conservatism of mainstream theater by developing unique aesthetics and pursuing self-sufficiency.
Key Independent Theater Groups:
- Els Joglars (Barcelona): Led by Albert Boadella, they initially focused on a “theater of silence” emphasizing physical expression. Later, they incorporated dialogue and became a professional company.
- Els Comediants (Barcelona): Led by Joan Font, they were known for their visually stunning and often surreal performances.
- TEM (Teatro Estudio de Madrid): An influential independent theater group in Madrid.
- Other Notable Groups: Tabanque and La Cuadra (Seville), Teatro de Cámara (Zaragoza), Teatro Universitario de Murcia, and Teatro Circo de Galicia.
By the late 1970s, street theater gained popularity, emphasizing nonverbal communication and engaging with audiences in public spaces.
The establishment of democracy in Spain eventually led to the rediscovery and revival of works by playwrights like Valle-Inclán and Lorca, who continued to influence contemporary Spanish theater.