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In spite of the Franco regime censorship, and after an initial
almost total purge that meant exile to many of the top
intellectuals and artists, the evolutionary process of peninsular
Spanish art and culture did not stop to a complete standstill.
During the 40's and 50's a renewal movement took place, and the
three playwrights and their plays included in this volume were of
utmost importance to it. The case of Arrabal, premiered outside the
Spanish borders and in French, though most of his production was
conceived and written initially in Spanish, is a perfect example of
how Spanish literature kept its liveliness, even in exile. These
three plays also share the fact of being tragedies, a very uncommon
characteristic in Spanish theatre, specially so during the years in
which comedy ruled as a very convenient way of escaping the
dramatic socio-political surrounding reality. The renewal impulse
in Spanish theatre started in 1945. That year the -Arte Nuevo-
group was established, and in 1949 -Teatro de Vanguardia. 15 obras
de Arte Nuevo- was published. Avant garde theatre New Art during
the 40's in Franco's Spain The renewed and open-minded theatrical
context that emerged in the stifled climate of the Franco Spain of
the 40's, the so called -black decade-, is noticeably present in
these plays of the Antonio Buero Vallejo, Alfonso Sastre and
Fernando Arrabal production. Sastre, as well as Arrabal and Buero
Vallejo were imprisoned by the regime, and these plays reflect
their respective biographical projections. This volume gathers
these authors' different styles and playwriting -very often
clashing- but whose common constant is the linking of the Spanish
theatre with the international drama tendencies. Along his
introduction professor Victor Fuentes develops a schematic analysis
of the Buero Vallejo, Sastre and Arrabal achievements through drama
experimentation in their respective plays. With this edition we
offer the US reader three fundamental plays of the literary,
cultural and theatrical Spanish -and universal- memory of more than
half a century ago, whilst proposing the deciphering of their
present meanings and projections into the future.
El sueno de la razon is an excellent example of Antonio Buero
Vallejo's -posibilismo-, as the Spanish playwright called his
strategy for conveying his strong public denouncements while
eluding the Franco regime's censorship. Buero Vallejo centers the
action in the pathos of Francisco de Goya, an indisputable icon of
the Spanish culture; he delves into the painter's mind and daemons,
using Goya's art to transform the play into a -total immersion-
experience. In this way, he provokes the audience's feelings and
leads it to complete the work's message after the curtain's fall.
Most of the action takes place in Goya's -Quinta del sordo- (the
-deaf man's country home-), during the Spanish King Ferdinand VII's
restoration, (1823) with its subsequent crack down on
-freethinkers, liberals and masons-. The projected -Black
Paintings- form a good part of the sparse stage design. Buero
Vallejo plays with a sequence of images, conflating Goya deafness
with dialogue, paintings and his etchings -Caprichos-, -Disparates-
and -Desastres de la guerra" in order to achieve a strong, univocal
form of communication. This edition, with a foreword by Dr.
Yosalida C. Rivero-Zaritzky, combines ample footnotes with
reproductions of the -Black Paintings- inserted in the places
prescribed by the author's stage directions. The text thus evokes
the theatrical effect intended by Buero Vallejo. An appendix with
reproductions of the etchings mentioned throughout the text
completes the background information required to fully understand
-and enjoy this masterpiece of Spanish theatre.
Part of the Bristol Classical Press series of Spanish texts, this
is Buero Vallejo's play "El Tragaluz". The series is designed to
meet the needs of the fast-growing A Level and undergraduate market
for texts in the Spanish language. Each text comes with English
notes and vocabulary, and with an introduction by an editor with an
expert knowledge both of the work and of its literary and cultural
context. Set in the aftermath of the Spanish Civil War, this play
occupies an important place in Buero Vallejo's theatre
incorporating earlier metaphysical preoccupations with a later
historical and political dimension.
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