Theatre and Dictatorship in the Luso-Hispanic World explores the discourses that have linked theatrical performance and prevailing dictatorial regimes across Spain, Portugal and their former colonies. These are divided into three different approaches to theatre itself - as cultural practice, as performance, and as textual artifact - addressing topics including obedience, resistance, authoritarian policies, theatre business, exile, violence, memory, trauma, nationalism, and postcolonialism. This book draws together a diverse range of methodological approaches to foreground the effects and constraints of dictatorship on theatrical expression and how theatre responds to these impositions.

Theatre and Dictatorship in the Luso-Hispanic World explores the discourses that have linked theatrical performance and prevailing dictatorial regimes across Spain, Portugal and their former colonies. These are divided into three different approaches to theatre itself - as cultural practice, as performance, and as textual artifact - addressing topics including obedience, resistance, authoritarian policies, theatre business, exile, violence, memory, trauma, nationalism, and postcolonialism. This book draws together a diverse range of methodological approaches to foreground the effects and constraints of dictatorship on theatrical expression and how theatre responds to these impositions.

La dictadura franquista no solo reprimio los valores ajenos a su ortodoxia moral, religiosa y politica, sino que tambien se valio de un grupo de intelectuales y de una amplia variedad de recursos para dictar sus propios dogmas. Este volumen examina como, a traves de diversas modalidades textuales (narrativa, poesia, periodismo, critica...), se trataron de imponer a la sociedad de la posguerra discursos univocos que abarcaran creencias, comportamientos y adhesiones normativas con la complicidad de escritores y escritoras de las distintas familias ideologicas que sustentaban el regimen.

The Panic Theatre is a set of plays conceived by Fernando Arrabal between 1957 and 1966, the author's first years in Paris. Composed at the zenith of the avant-garde movement, they convey a radically new and challenging theatricality whose cornerstone is their ceremonial shape. The plays' underlying panic ceremony is thoroughly studied in light of Arrabal's programmatice text 'Le Panique, ' that singles out three key concepts responsible for artistic creation: memory, chance and confusion