Forms of Short Modernist-Symbolist Theatre in Spain

Authors

  • Javier Cuesta Guadaño Complutense of Madrid University

DOI:

https://doi.org/10.13136/sjtds.v1i2.39

Abstract

The crisis of fin de siècle was for all of Europe an authentic theatrical revolution which – inspired by Belgian playwright Maurice Maeterlinck’s earliest pieces – set out to transmogrify the traditional forms of Naturalism and projected itself across all the arts as a réaction idéaliste to Positivism. Spanish Modernism also responded to this renovated perspective on drama by means of a kind of localized Symbolism which promoted the phenomenon of ‘poetization’ of the theatrical event along with a new conception of the stage. This new kind of drama responded to an interconnected relationship between poetry and theatre, gesturing towards idealism in the treatment of certain themes or atmospheres, and finding in the one-act structure, which replaced the category of action with dramatic situation, the most suitable conditions to develop. Amongst the examples of brief Modernist-Symbolist theatre in Spain, we encounter Jacinto Benavente’s Teatro fantástico (1892-1905), Gregorio Martínez Sierra’s Teatro de ensueño (1905), Santiago Rusiñol’s and Adrià Gual’s Symbolist works, the several texts published in journals by Valle-Inclán or Pérez de Ayala, as well as other less known plays authored by the Millares Cubas brothers, Zozaya, Francés, Goy de Silva and López Aydillo.

Downloads

Published

2015-12-29

Issue

Vol. 1 No. 2 (2015): Short Forms

Section

Monographic Section

License

Open Access Policy

This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.

This Journal is a CC-BY 4.0 publication (https://creativecommons.org/licenses/by/4.0/). This Licence allows others to share the work with an acknowledgement of the work’s authorship and initial publication in this Journal, providing a link to the Licence and explicitly underlining any change (full mention of Issue number, year, pages and DOI is required).

  1.  The Author retains (i) the rights to reproduce, to distribute, to publicly perform, and to publicly display the Article in any medium for any purpose; (ii) the right to prepare derivative works from the Article; and (iii) the right to authorise others to make any use of the Article so long as the Author receives credit as Author and the Journal in which the Article has been published are cited as the source of first publication of the Article. For example, the Author may make and distribute copies in the course of teaching and research and may post the Article on personal or institutional Web sites and in other open-access digital repositories.
  2. The Author is free to enter into separate, additional contractual arrangements for the non-exclusive distribution of the Journal’s published version of the work, with an acknowledgement of its initial publication in this Journal and explicitly underlining any change (full mention of Issue number, year, pages and DOI is required).
  3.  The Author is permitted and encouraged to post their work online after the evaluation process has been successfully passed, as it can lead to productive exchanges as well as to a wider dissemination of the published work.