Spanish Theater: From Pre-Civil War to the Present
Spanish Theater Before the Civil War
Before the Civil War, Spanish theater had been immobile and limited. Successful commercial theater followed several trends. Galdós attempted to overcome the rhetoric of Romanticism by introducing naturalism, real environments, and contentious issues. Jacinto Benavente shaped the new writing style, with works featuring little conflict and witty dialogue. He wrote comedies and stressed the unloved bourgeois. Costumbrista comedies also triumphed, as well as poetic theater and “Astracan”. Notable figures include Carlos Arniches (The Lady from Trévelez) and the Álvarez Quintero brothers (Mariquilla Terremoto). Muñoz Seca’s “Astracan” is a genre of comical absurdity (Don Mendo’s Revenge). Lastly, in poetic drama with Modernist influence, we can mention Marquina (Flanders Has Been in the Sun).
A part of this theater’s works were written as a marginalization sentenced to the authors of the Generation of ’98, such as Unamuno (M. de Pigmalió) or Grau. Gómez de la Serna, meanwhile, wrote The Half Beings. On the other hand, the Generation of ’27 brought theater to the people, as seen in Lorca’s “La Barraca”. Other authors, such as Alberti and Miguel Salinas Hernández, also engaged in theater. Worth mentioning are The Lady of the Dawn by Casona and San Juan by Max Aub.
Lorca and Valle-Inclán: Two Titans of the Stage
The two most important authors of this period were Lorca and Valle-Inclán. Lorca’s first stage was devoted to the poetic, where the theme is the struggle between the individual and authority. He emphasized female characters. While concerned about the success of his theatrical work, he explored all types of genres. Highlights include his lyrical drama (Mariana Pineda) and surrealist theater (The Public). His major works include the rural trilogy, which deals with sexual problems and features women as protagonists: Blood Wedding, with the groom and the tragic end of a suitor; Yerma, the drama of a sterile woman; and The House of Bernarda Alba, about customs limiting women.
Valle-Inclán was a playwright ahead of his time in terms of originality and criticism, which led to his being relegated from the stage. He started with idealized Modernism in works like The Marquis of Bradomín. He then began a cycle with the “Comedias Bárbaras”, a trilogy about archaic societies. This cycle ended with Divine Words. His great discovery was the “Esperpento”, where he denounced situations and grotesque characters, manipulated like marionettes by the author. Highlights include Tyrant Banderas and Bohemian Lights, which recounts the last night of Max Estrella.
Spanish Theater After 1936
In the years following the Civil War, theatrical atony prevailed. Pre-war theater’s most relevant figures (Valle-Inclán and Lorca) were either dead or exiled, and works by classic authors were primarily represented. Bourgeois comedy triumphed, following the style of Jacinto Benavente, with comedies that overvalued the bedroom, where love and family were central themes. Notable authors include Pemán, Calvo Sotelo, and Luca de Tena. Some authors added fantasy and wit, such as Neville (The Dance) or Casona (The Lady of the Dawn). This type of comedy was called “happiness comedy”.
Some tried to renew comic theater with intellectual work, as Jardiel Poncela incorporated mystery into absurd situations.
The Theater Opens Up: 1950s and 1960s
In the 1950s and 1960s, theater aligned with the audience’s tastes, incorporating some critical issues and current, quality dialogues. Notable figures include Alfonso Paso (Los que tocan el piano), Alonso Millán (Cyanide, Straight or on the Rocks?), and Antonio Gala (Rings for a Lady).
Social Realism and Experimental Theater
In the 1950s, with the premieres of Buero Vallejo’s Story of a Staircase and Sastre’s Death Squad, the possibility of a theater that reflected current issues emerged, with outspoken criticism. Buero Vallejo’s production includes universal themes, defending freedom and truth through allegorical conflict. He used tragedy to provoke catharsis in the viewer, who, once moved, should be able to shape their own destiny. Stage directions are of particular importance in his immersion techniques. Outstanding works include Story of a Staircase, The Concert at Saint Ovide, A Dreamer for the People, and The Foundation, with characters that have flaws representative of humanity’s relationship with reality.
Sastre, relegated from the stage for his revolutionary and committed theater, adopted various approaches, such as denouncing militarism (Death Squad) or representing the marginalized world (The Fantastic Tavern). In the 1960s, social realism developed, denouncing misery and exploitation. Many works remained unpublished. Highlights include The Shirt by Lauro Olmo and Two Wild Ones by Miguel Martín Recuerda. Another trend of this era is experimental theater, dominated by Fernando Arrabal, a surrealist playwright (Picnic). This theater was soon accepted, addressing themes of repression in society. It often advocated for transgression, including sexual liberation. A notable example is “Angry Theater” (Hot Lead in the Race).
Late 1960s to the Present: Independent and Institutional Theater
In the late 1960s and much of the 1970s, theater experienced repression. Consequently, independent theater gained strength against the regime, resorting to allegories and symbols to achieve greater freedom. The new theater was avant-garde, breaking the boundaries between actors and spectators and enhancing sets and lighting. Notable groups include Els Joglars. In the 1980s, some groups started with street theater, with public participation. Highlights include La Fura dels Baus. Others created alternative theater with limited means.
State-subsidized theater, promoted by communities, also gained importance, promoting classical theater. The National Drama Center was established. In the 1970s, a symbolist theater emerged, avant-garde in every sense. Its theme was oppressive power, incorporating elements such as sex and violence. José Ruibal is a notable figure. After the dictatorship, the public embraced democratic changes. Antonio Gala was the most successful author, with works like Rings for a Lady. Alonso de Santos also stood out with The Tobacconist from Vallecas and Bajarse al moro. Fernando Fernán Gómez’s Bicycles Are for the Summer is also noteworthy.
After the dictatorship, independent theaters became more professional, and institutional theater gained prominence. In recent times, there have been few novelties: renowned authors, musical works, classics, and some historical curiosities.