Spanish Theater from 1900 to 1936
Spanish Theater from 1900 to 1936
Introduction
Of all literary genres, drama is the most influenced by external factors. Commercial conditions heavily influence drama because plays require financial investment, and producers want to make a profit. A play will only premiere if the producer believes it will be profitable. They will rarely take risks with innovative works. National theaters are funded by taxes, and their evolution depends on the economic climate. Additionally, audiences tend to be conservative, seeking entertainment and a good time. Theater is also sensitive to political periods, especially during times of autocracy, as it can influence people. The period from 1900 to 1936 in Spain was marked by Primo de Rivera’s dictatorship. The best work of the 20th century, “Luces de Bohemia” by Valle-Inclán, premiered during this time but did not reach its full potential until the arrival of democracy.
Commercial Theater
This type of theater aimed to please the public and included various subgenres:
Bourgeois Comedy: Jacinto Benavente
Also known as Benaventine Comedy, this style was perfected by Jacinto Benavente. He helped theater evolve beyond the exaggerated melodrama of Echegaray. Authors of the Generation of ’98 protested against the Royal Academy when Benavente, and not Echegaray or Galdós, was awarded the Nobel Prize. Benavente’s characters are typically upper-class, and his plays explore their problems and conflicts (e.g., marital infidelity, rebellious children). Importantly, his work never questions the established social order. Notable works include: “Vested Interests” (1907), a farce with characters reminiscent of Italian comedy, about the corrupting power of money; and “The Bonds of Interest” (1913), a rural drama about honor and social standing in a village.
Poetic Drama: Eduardo Marquina
Also called modern historical drama, this style was developed by modernist writers. Its characteristics include: works in verse, strong musicality, focus on characters, settings in the past and exotic locations (e.g., the Reconquista, Muslim Granada). The most representative author is Eduardo Marquina, known for works like “In Flanders Has the Sun Set” and “The Daughters of the Cid.” These plays often present an ideology, a nostalgic view of Spain’s imperial past.
Comedy Theater: Carlos Arniches, the Álvarez Quintero Brothers, and Pedro Muñoz Seca
This style was popular with the working classes. Under the umbrella of “comedy theater” fell various subgenres: Zarzuela (e.g., “La verbena de la Paloma”), Variety Theater (e.g., “Girls with Cancer”), and Sainetes (short comic works). Some prominent authors include:
Carlos Arniches revived the tradition of short plays in Spanish theater, drawing inspiration from pasos, entremeses, and the sketches of Ramón de la Cruz. He developed a subgenre called “grotesque tragedies” (which, despite their name, were not somber), addressing issues within Spanish society outside the realm of commercial theater. His works subtly criticized the prevailing despotism in Spain, social injustice, and favoritism. Notable plays include “Miss Trévelez” and “The Chiefs.”
The Álvarez Quintero brothers depicted the atmosphere of Andalusia on stage, focusing on its folklore and more superficial aspects: flamenco, aspiring bullfighters, hams, and seafood.
Pedro Muñoz Seca is best known for “The Revenge of Don Mendo.” He aimed to ridicule modern theater by imitating a medieval verse play, breaking theatrical conventions (e.g., characters appearing from behind the scenes, actors making mistakes).
Attempts at Renewal: Unamuno, Azorín, and Ramón Gómez de la Serna
These authors attempted to renew the theatrical landscape but did not achieve commercial success. Two members of the Generation of ’98 were the first to try.
Miguel de Unamuno sought to translate the ideas expressed in his essays and novels to the stage. His works, often called “strophic plays,” have minimal plot and are characterized by their stark staging. They primarily serve as a platform for his philosophical thoughts and monologues. Examples include “The Other” and “Brother Juan.”
Azorín attempted to revitalize theater with symbolic and abstract elements, exploring themes of time, death, and the pursuit of happiness.
Ramón Gómez de la Serna introduced avant-garde, experimental works. His themes revolved around the search for identity and the emptiness of existence, as seen in “The Beloved Media.”
Valle-Inclán
Valle-Inclán brought significant innovation to theater. He is known for creating the “esperpento” technique, which influenced both the content and characters of his plays. He explained this technique in an interview with the newspaper ABC, stating that there are three ways of seeing the world: kneeling, standing, or from the air. When looking from one’s knees, characters are seen as heroes, superior to the human condition (e.g., Homer). When looking straight on, characters are seen as equals, like ourselves (e.g., Shakespeare). When looking from above, from the air, the world is viewed from a higher plane, and characters appear as inferior beings, with a touch of irony. Gods are deformed (e.g., Quevedo, Cervantes). Despite the greatness of Don Quixote, Cervantes does not idealize him. Esperpento characters are grotesque, like puppets or caricatures.
Valle-Inclán’s theatrical production began with modernist dramatic poems, characterized by their musicality, verse form, and medieval settings, such as “Springtime Fable.” His “Comedias Bárbaras” depict the brutality of a character named Juan Manuel Montenegro and his violent children in rural Galicia. These plays are filled with witchcraft, cruelty, and death. Examples include “Eagle’s Crest,” “Silver Face,” and “Romance of the Wolves.” This type of theater deviated from the mainstream. In his cycle of farces, Valle-Inclán used puppet theater scenarios and humor to ridicule the behavior of the nobility, mixed marriages, and the court of Isabella II. An example is “Farsa y licencia de la Reina Castiza.”
The first clear manifestation of esperpento appeared in 1920 with “Luces de Bohemia.” However, there are earlier works with esperpento features, such as “Divine Words.” The absurdity of theater is also evident in his trilogy “Martes de Carnaval.” He continued to explore esperpento in his narrative work “Tirano Banderas.”
The esperpento technique is reflected in Valle-Inclán’s use of language, mixing various dialects (e.g., colloquial Madrid speech, Andalusian, vulgar language, Spanish-American), all infused with contemptuous irony and sarcasm. Characters are animalized, turned into puppets. Among the themes explored in esperpento are absurdity and parody, particularly of literary models like dramas of honor (e.g., “Doña Friolera’s Horns”). He also ridiculed the myth of Don Juan in “Late Finery.” Esperpento criticizes the aristocracy, the landed gentry, the monarchy, and the army. Political allusions are present in his works, referencing figures like Primo de Rivera, Sagasta, and Maura, and historical events like the Carlist Wars, the court of Isabella II, and the Glorious Revolution.
Federico García Lorca
Lorca had an early vocation for theater and embraced modern poetic drama. In 1931, he traveled to New York, which inspired his collection “Poet in New York.” He sought to renew Spanish theater, drawing inspiration from Valle-Inclán and his esperpentos. Lorca aimed to create a theater that reflected the social pulse, spirit, people, and landscapes of Spain. His theatrical work can be divided into two categories:
- Experimental Surrealist Theater: Irrational in its approaches and forms. Examples include “The Public” and “Thus Five Years Pass.”
- Popular Theater: Rural dramas and tragedies. Examples include “Blood Wedding,” “Yerma,” “Doña Rosita the Spinster,” and “The House of Bernarda Alba” (reflecting his interest in Spanish themes).
Lorca sought to create a total spectacle in his works, blending prose and verse, religion and folklore, music and painting. He aimed to connect with a popular audience, using simple and direct language that was rich in symbolism and highly visual. During the Second Spanish Republic, he was appointed director of the traveling theater company La Barraca, which toured rural Spain, bringing theater to the masses. This experience influenced his plays, which are imbued with popular elements.
Lorca’s protagonists are often women who represent subjugation and marginalization. Social constraints prevent them from experiencing love and other emotions fully. In “Blood Wedding,” for example, themes of motherhood and freedom are explored. There is always a social or environmental constraint that clashes with the desire for freedom. His plays often have tragic endings that lead to death, as seen with Leonardo (Blood Wedding), Yerma’s husband (Yerma), and Adela (The House of Bernarda Alba).