'Other' Spanish Theatres: Erasure and Inscription on the Twentieth-century Spanish StageThis title challenges established opinions on modern Iberian theatre in considering the roles of contrasting figures and companies who have impacted upon both the practice and the perception of Spanish and European stages. In questioning the primacy of the dramatist, this pioneering study offers a new interpretation of a nation's theatrical culture that has been viewed primarily through the prisms of a select number of playwrights. acknowledging the wide influence of Spanish practitioners on theatre in Europe and the Americas is made in persuasive terms. Through a bold documentation and interrogation of key productions and their reception both at home and abroad, this work focuses on the doing of performance, asking provocative questions around how performances are tested against the texts that remain. alternative readings of a nation's theatrical innovation through the 20th century. The first, Margarita Xirgu (1888-1969), was both muse and mentor to Garcia Lorca; actress, director, pedagogue and activist, she has languished in the shadow of her more famous European contemporaries, Eleanora Duse and Sarah Bernhardt. The second, Enrique Rambal (1889-1956), was an ambitious theatrical polymath and miracle-worker, much admired by Orson Welles, whose influence is still being calibrated. The third, tragedienne Maria Casares (1922-96) feted by Gordon Craig, Genet, Camus, Cocteau, and Koltes, is re-appropriated from the French theatre in which she is habitually viewed through the vectors of exile. actress of the second half of the century, by contrast, remained in Spain, reawakening international interest in Spanish theatre through her extraordinary collaborations with Victor Garc a and Jorge Lavelli. Espert's work was to inspire future generations of practitioners, including the books fifth case study Lluis Pasqual (b.1951), the Catalan co-founder of Barcelonas Teatre Lliure who was to consolidate the place of director's theatre within Spain while bringing an international outlook to the Spanish stage. Barcelona is also the backdrop for the final chapter's protagonists, La Cubana, the company whose trajectory from street theatre to mainstream commercial success offers an insight into the sparkling dynamics of a vibrant post-Franco Catalan performance tradition. |
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acknowledged action actors actress adaptation allowed amor appeared articulated artistic association audience Barcelona Casares cast Catalan century Chapter character cited collaboration construction contemporary critics Cubana cultural death directed director drama dramatist early effects Espert established exile fact Festival figure film final Franco French functioned further details García Lorca importance indicate involved Italy José language later Lavelli Lliure Lluís located London Luis Madrid Margarita Xirgu María marked move musical never Nuria Espert offered opening opera Paris Pasqual Pérez performance perhaps period piece play political position premiered presented production promotion proved Rambal reading recognised references rehearsal remained responsible Rodrigo role scene seen served significant social space Spain Spanish theatres spectators stage success teatro theatrical tion tour translation writing Xirgu Yerma