Spanish Theater: Civil War’s Impact and Postwar Evolution
Drama From the Civil War: A Theatrical Evolution
The evolution of Spanish theater was significantly shaped by the Civil War and its tragic consequences. Various artistic guidelines developed in the area, and the national Republican scene was marked by the exile of figures like Max Aub and Rafael Alberti, as well as the deaths of Federico García Lorca and Ramón del Valle-Inclán.
Postwar Theater: Nationalistic and Bourgeois
The postwar era was dominated by a national theater serving the dictatorship. A prominent dramatic line was bourgeois comedy, characterized by:
- Perfection in construction
- Intranscendence
- Humor, tenderness, and kindness
It acted as entertainment and education with a moralizing end, focusing on themes of love and the bourgeoisie. Important authors include:
- Jacinto Benavente (“The Demon of the Theater” and “Don Juan Has Come”)
- Joaquín Calvo Sotelo (“When the Noxe” and “Wall”)
Theater of humor, reflecting immediate reality, was also present, with authors like Enrique Jardiel Poncela and Miguel Mihura, whose principal feature was evasion of the reality of the time. The postwar theater aimed to entertain and transmit ideology.
Jardiel Poncela: Carelessness and Evasion
Jardiel Poncela’s works predominantly feature carelessness and evasion, steering away from preoccupations and doubts. His work is characterized by the incorporation of the improbable, with a touch of madness and mystery. His characters, belonging to the bourgeoisie, represent a happy society looking for love and money. Notable works include “Eloisa Beneath an Almond Tree” and “Thieves Are Honorable People,” and “4 cn Hearts Back Brake and Marx.”
Miguel Mihura: Idealizing Life
Miguel Mihura did not intend to reflect reality but to idealize life through the humanization of his characters and the triumph of goodness and tenderness. His works often return to normality, distorting reality through imagination and poetic fantasy. Key works include “Three Top Hats” and “Maribel and the Strange Family.”
Theater in Exile: Aesthetic Differences
Theater in exile presented aesthetic differences compared to that cultivated in Spain. The artistic interests of exiles led authors to incorporate cutting-edge developments in their works.
Rafael Alberti: Political Theater
Rafael Alberti cultivated a political theater in his work, incorporating poetic elements from language and symbols to the inclusion of small stanzas. Notable works include “The Eyesore” and “Graceful.”
Max Aub: Metatheater and Ethics
Max Aub began with the aesthetic avant-garde theater during the war, creating urgent farces. In exile, his work features great narrative and metatheater, with realistic language. Recurring themes are loneliness and the ethics of war. Key works include “San Juan” and “Mirror of Greed.”
Alejandro Casona: Bourgeois Comedy for Escape
Alejandro Casona continued with postwar bourgeois comedy for escape, distancing himself from socio-historical circumstances. A notable work is “The Lady of the Dawn.”
Realist Theater: Complexity and Depth
Realist theater is characterized by the complexity of scenic areas and a deepening of the characters’ experiences.
Antonio Buero Vallejo: Modern Tragedy
Antonio Buero Vallejo sought to create modern Spanish tragedy, where characters inspire compassion. His works are a synthesis of realism and symbolism, opposing active characters confrontationally with contemplative characters. Their problems are universal, and he tries to immerse the reader in history. Notable works include “Story of a Staircase” and “In the Burning Darkness.”
Alfonso Sastre: Social Unrest
Alfonso Sastre wanted to renovate the theater, building a theater of social unrest with his work “Toward Death Squadron.” The complex tragedies added a mood of deep black, allowing detachment from the stories. The characters presented are ridiculous heroes, contrasting and contradictory. Key works include “To Death Squad” and “Fantastic Tavern.”