Spanish Theater and Poetry Since 1975: Trends and Authors
Spanish Theater Since 1975
The political and social circumstances that have occurred in Spain since 1975 have been very favorable to theater. The disappearance of censorship has coincided with the state’s interest in subsidizing theater initiatives and the creation of the National Drama Center, the Theater Documentation Center, and the National Center for New Performing Trends. In addition, publications for the dissemination of texts and theater festivals throughout Spain have increased.
Interestingly, in such a favorable environment, there have been few premieres of new works, and the public has proved reluctant to go to theaters, perhaps because of competition from movies and television.
Of the playwrights who began their careers in past decades, the most realistic works are still represented, such as those by Antonio Buero Vallejo and Antonio Gala. In contrast, many experimental playwrights who experienced moments of success between 1968 and 1975 have lost their audience.
Government support has shifted from independent companies to stable companies, many of which are now supported by the Autonomous Communities. However, groups such as Els Joglars and Els Comediants maintain their independence and prestige.
In the plays released since 1975, as in other genres, a remarkable eclecticism can be seen. Although most cultivated types of works fall within the line of theater as an escape, there is also an appreciation of theater and social customs, updated according to the new realities and the characters of contemporary Spanish society.
- Author: José Sanchis Sinisterra
Current Poetry in Spain
Poetry after 1975 is very patchy, due in part to the coexistence of at least five generations of poets. As a general trend, contemporary poetry has tried to overcome the newest culturalism, which is considered depleted. Moreover, new generations have emerged independently, outside of schools or trends.
As a result of this general attitude of independence, trends are very diverse. The poet and critic Luis Antonio de Villena has indicated a return to what he called the classical tradition, understood as the historical survival of the themes and forms of Greco-Roman literature through Western literature. There’s a new reading of traditional poetics, a poetry that ranges from classical authors to war poetry, through the works of modernist writers, Symbolists, and Parnassians, to which special attention is paid. All this tradition is highly valued by younger poets, who adapt it to contemporary sensibilities and even dare to parody or use a humorous tone.
A very characteristic poet of this trend is Luis García Montero, who in his Eclogue of Skyscrapers takes both the meter and the theme of love from Garcilaso de la Vega and recreates it in an urban setting.
- There is an approach to narrative poetry. The poems collect anecdotes, put in the mouths of characters who tell stories, leading to colloquial language, including features of customs. An example might be the poem “Fault” by Correyero.
- There is a revival of surrealism and an intense purification of language.
- There is a characteristic taste for urban issues and references to other cultural events such as film or rock music.
Naturally, alongside these young poets, poets from the previous stage are still working and publishing. Some of those who already enjoy a stable place in the esteem of critics and readers include Luis Antonio de Villena, Luis Alberto de Cuenca, Antonio Colinas, and Jaime Siles.