UNIVERSITY OF CINCINNATI

Date:______

I, ______, hereby submit this work as part of the requirements for the degree of: in:

It is entitled:

This work and its defense approved by:

Chair: ______

The Pathology of Alienation

A psycho-sociological approach to the theater of Paloma Pedrero

A dissertation submitted to the

Division of Research and Advanced Studies of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTORATE OF PHILOSOPHY (Ph.D.)

in the Department of Romance Languages and Literatures of the College of Arts and Sciences

2005

by

Aaron Taylor

B.A., University of Cincinnati, 1992 B.A., University of Cincinnati, 1992 M.A., University of Cincinnati, 1995

Committee Chair: María Paz Moreno, Ph.D

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Abstract

Paloma Pedrero's hyperrealist theater provides a glimpse into the daily existence of a group of Madrid's outcasts as well as an analysis of the pertinent social issues that affect them. In her plays, characters suffer from numerous conflicts linked to financial and emotional alienation. Longing for solidarity and companionship, an atmosphere of rivalry and mistrust thwarts their attempts to establish effective dialogue or productive cooperation. Though role-play can bring about momentary connections, bonds are soon severed as characters fail at (self)expression and resort to mutual victimization.

Spectators exit the theater perplexed since characters seem no better off at the plays' open-ended conclusions.

In recent years, Pedrero is proving to be one of the most important playwrights to emerge on the Spanish stage. The growing number of critical studies on her plays attest scholars' interest to unravel the complexities of her thought-provoking texts. Although most critics concentrate on the theatric, erotic or feminine aspects of her writing, I believe an analysis of the psycho-sociological dimensions of her theater is not only lacking but essential to a greater understanding of her works, especially in light of her educational background in sociology. Consequently, my dissertation approaches

Pedrero's texts uniquely within this social framework.

Although Pedrero avoids writing plays with overtly didactic messages, in La isla amarilla, she offers rare insight into the concerns that characterize her Weltanschauung: i.e. dismay at contemporary society's thirst for material wealth as well as its individualistic nature. Commencing with these ideas, my aim is to delve into Pedrero's

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world, revealing the influences, theories and experiences which have shaped her

discourse. The three primary points of my research, constituting my chapters, include:

1) Success and failure in Western society, the marginalization process and

deviancy; 2) Relationship disorders and the breakdown of interpersonal

communication; 3) The structure, techniques and reception of her works.

Furthermore, I address symptomatic issues within the themes of the various chapters: dysfunctional families, abandonment, unemployment, substance abuse, rage, individualism and estrangement. A wide range of novel theories pertaining to sociology,

psychology, communication and dramatic arts will be covered in my dissertation and

applied to Pedrero's plays.

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Acknowledgements

To Dr. Patricia O'Connor for being a constant source of inspiration since our first trip to

Spain in 1991. It is to her that I owe my passion for Spain, its language and culture, and certainly its theater. She has always been my mentor.

To Dr. María Paz Moreno for her sound advice, academic support and excellent suggestions, especially in regards to finding new and exciting theories in Spanish sociology. I couldn't have asked for a better director. Many thanks for agreeing to take on my dissertation in medias res.

To Dr. Connie Scarborough both for her precious help and encouragement as academic advisor as well as for her important collaboration on my dissertation committee.

Likewise, many thanks to Dr. Carlos Gutiérrez for the time and effort he spent on reading my thesis.

To the head of the department of Romance Languages as well as the professors of

Spanish and French for their consistent motivation and for giving me opportunity to culminate my doctoral studies at the University of Cincinnati.

To Shelley and Martha Stephen's for their unflinching support and generosity during the long process when my project was taking form. Also to Marine Sengès, Tristan Pavisi,

Bobby Agarwal and Vicente Zoogyie for their support and friendship when I needed it.

To my parents for their trust, patience and financial assistance.

To the government of the French Republic for sponsoring my studies.

I am grateful to each one of these people who have played a crucial role in the realization of this dissertation.

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TABLE OF CONTENTS

Introduction Paloma Pedrero, The Thought-Provoking Hyper Neo-Realist 6

Chapter 1 The Pathology of Deviance 18

Chapter 2 The Pathology of Communication 84

Chapter 3 The Pathology of Reception 128

Conclusion Alienation in Pedrero's Theater 185

Bibliography 191

Appendix 209

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Introduction

Paloma Pedrero, the thought-provoking neo-realist

In her introduction to Women in the Theater of Gregorio Martínez Sierra1,

Patricia W. O'Connor explains that whereas dramatic arts in other European countries have tended toward elitism, theater in Spain draws its support from spectators of varied social backgrounds and origins: "The Spanish theater has traditionally been an extremely democratic medium..., a place where all levels of society flock to see themselves -- or perhaps better still, to see their neighbors -- portrayed" (O'Connor 11). According to this scholar, representing the interests of the masses has left an imprint on the Madrid stage:

"[Spanish plays] reflect the attitudes that have found favor with certain groups at certain times" (16). Further, Dr. O'Connor points out a double objective in the theater: "[It is] not only an entertainment medium but a didactic one as well" (17). Unsurprisingly,

Antonio Buero Vallejo embraced realism when crafting his first play, Historia de una escalera in 1949, to bear witness to the grim reality of a nation ravaged both by civil war and a subsequent dictatorship whose censors imposed a law of omertà on all mediums of expression.2 The success of Buero's play is legendary. Robert Nicholas states: "Es

consabida historia ya cómo la clamorosa acogida de Historia de una escalera, por parte

de la crítica y del público, motivó la cancelación de la comedia de Zorilla [Don Juan

1 Her introduction comments on the consistency of realism in Spanish theater from the Middle Ages onward and the subsequent role of women as reflected in the major works of each century. 2 Charles Aubrun indicates that prior to Buero's arrival on the Spanish stage and indeed for many years afterwards, most commercial plays in Madrid either glorified the Francoist regime or else proved to be escapist love comedies (120). César Oliva calls the latter "la comedia burguesa de posguerra" (14).

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Tenorio] por primera vez en la historia de ese teatro [El Teatro Español]. Desde

entonces, este drama de Buero ha venido a significar el momento de renacimiento del

teatro español después de la guerra civil" (Nicholas 12). As O'Connor suggested, the

popularity of Buero's theater stems from the fact that he was able to connect with

Spaniards by reproducing vividly the world in which they lived (complete with authentic

conversation and real-life scenarios), and addressing the pertinent issues of his day. "[Le

théâtre de] Buero témoigne de l'impasse où se trouvait engagée la société espagnole.... Il

aspirait à satisfaire les besoins spirituels de la communauté ou, même, à apaiser son

angoisse" (Aubrun 120).3 Throughout the decades that followed, although a few

dramatists attempted different styles4, realism still remained prevalent on the Spanish stage. Furthermore, Robert Nicholas, in his study on El sainete serio, boldly asserts that in the second half of the twentieth century only the most realistic plays5 achieved great

success or had any long-lasting influence on the nation's theater (13).6 By means of a

thorough analysis of the critics' and spectators' reactions, the researcher skillfully

manages to tie the widespread acclaim of these plays to their hyperealistic character: for

instance, "viven nuestras mismas experiencias"; "su lenguaje es el nuestro"; "los tipos

son crudos pero verdaderos"; "es un cuadro vivo de los humildes"; and "se ve como si

3 Buero's theater sheds light on (attests to) the predicament or impasse that Spanish society was facing.... It aspired to satisfy the spiritual needs of the community, or even, to appease its anguish. 4 For example, Alfonso Paso staged numerous conventional comedies and Fernando Arrabal wrote shocking or cruel theater (Oliva 196-211). 5 Among the plays named by Nicholas include La historia de una escalera (1939) by Buero, Escuadra hacia la muerte (1953) by Sastre, La camisa (1962) by Olmo, Las arrecogías (1977) by Monleón, Las bicicletas son para el verano (1982).... 6 Emphasizing the hyperreal character of the language, context and themes of these plays, Nicholas believes that the Nuevo Teatro Español is really a serious version of the historic sainete genre. However, quite a few critics oppose this characterization since sainetes are not at all serious, have set character types and tend to be extremely short.. No one, nevertheless, questions the importance of hyperrealism to contemporary theater.

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estuviera sucediendo a nosotros" (15). Clearly, the Spanish playwright, critic and

spectator all concur in that drama needs to have a social function and include the

existence of the common man: "Tal identificación parece más estrecha -- más completa -

- que la lograda por una obra realista de Ibsen, por ejemplo, ya que se establece en

seguida, mediante una o dos escenas o aun el decorado inicial" (15). The well-known

critic, Francisco Ruiz Ramón, offers an excellent analysis of the characteristics of

Spanish realism:

Los temas generalmente presentados por este teatro, siempre dentro del

contexto español y referidos insobornablemente a él son los de la injusticia

social, la explotación del hombre por el hombre, las condiciones inhumanas

de la vida del proletario, del empleado y de la clase media baja, su alienación,

su miseria y su angustia, la hipocresía social y moral de los representantes de

la sociedad establecida y la desmitificación de los pricipios y valores que les

sirven de fundamento, la discriminación social, la violencia, la crueldad..., la

dureza, la condición humana de los humillados y ofendidos, del hombre al

margen... (487)

César Oliva, for his part, in an introductory analysis to his anthology on contemporary dramatists, El teatro español contemporáneo, believes that realism has endured

throughout the decades in that it has had the distinct advantage of being able to adapt

both to the exigencies and issues of the different time periods -- for instance, modern

problems such as hate crimes or drug abuse replace dictatorship or censorship -- as well

as adopt to the themes and concerns of each particular playwright -- for example, he

speaks of many types of realism: "realismo simbolista"; "realismo social"; "realismo

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popular"; "realismo poético"; "realismo populista"; "realismo expresionista" (28).7

Needless to say, Paloma Pedrero, born in Madrid on 3 July 1957, grew up at the time when realism had already become well established on the Spanish stage. The playwright belongs to the second generation of writers -- the neorrealistas or the nuevos nuevos -- who began writing in the early 1980's and subsequently adopt this genre. The social themes elucidated by Ruiz Ramón equally apply to this younger group, whose members, besides Pedrero, include other well-known authors such as Fermín Cabal or

José Alonso de Santos.8 Indeed, in an interview with Mariano de Paco -- "Pienso en

Buero" -- the playwright accredits the renowned father of realism directly with inspiring

her initial interest in theater and zeal to lend a voice to the common man:

La primera vez que fui a un teatro de verdad... se remonta a los años 70.

Sobre aquel escenario ponían una obra de Antonio Buero Vallejo, La

Fundación. No sabía... quién era el autor de aquella impresionante historia

que me dejó temblando.... Aquélla tarde, desde una de las últimas filas del

gallinero, sentí tantas y tan hondas emociones que nunca más pude deligarme

del mundo del teatro y sus autores vivos. (214)

Likewise in a similar article published in Estreno in 2001, Pedrero eulogizes her mentor:

"¿Qué vamos a hacer los dramaturgos sin ti? Tú eres el único que conoces la gente de la calle, tú eres el dramaturgo de este país" (27). Pedrero, like her predecessors, embraces the cause of Madrid's streets and actualizes realism once more to her contemporary

7 The essayist analyses many different authors: Buero, Olmo, Mañas, Muñiz, Gala.... Nicholas similarly speaks of adaptability though he maintains that the major works are different versions of the sainete genre. 8 Nicholas, Oliva and Aubrun demonstrate that although some playwrights i.e. Cabal and Alonso de Santos do occasionally attempt other styles only their realist works receive widespread acclaim -- for example Esta noche gran velada, Bajarse al moro, and La estanquera de Vallecas. All of Pedrero's plays, however, are realist.

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setting: "Her stark realistic, portrayal of a contemporary Spanish society in social and

cultural transition reveals the angst, concerns, and complex realities of the current

generation" (Lamartina-Lens 54).9 Indeed, the playwright's work proves a window into

the many different urban milieux and a testimony to current language, culture, and

community issues. Whether by exploring a wide variety of social environments ranging

from the homeless shelter to life in Madrid's underworld or tackling difficult subjects

such as euthanasia, neo-nazism, or the relevance of fidelity in marriage, Pedrero's theater

reflects the fears and frustrations of her public yet dares to question many of their

commonly held beliefs. Further, in the introduction to Cachorros de negro mirar, the

author qualifies her own work as a historical document: "Sólo desearía que esta obra,

escrita en 1995 y hoy tan tristemente actual, se convirtiera en algo histórico y sin ningún

interés. Es un documento que reflejara la realidad de un pasado peor" (11). Pedrero,

thus, continuing in the great realist tradition sees her work as both a dramatic art -- to

attract and entertain young spectators -- as well as a social function -- to provide pertinent

material for critical thought on key issues of the day. In fact, Oliva refers to the writer as

a "thought-provoking realist": "Paloma Pedrero, que sin claudicar de un teatro

comprometido, parece decidida a recuperar la comedia para pensar, más cerca del

realismo que de otra tendencia" (52).

Paloma Pedrero's plays show a unique blend of theatrics combined with sociology

and psychology, which amply reflect the author's extensive background in both of these

fields. Complementing a five year program in dramatic arts in which she took courses in

9 Lamartina-Lens presents an excellent profile of Pedrero and the major themes of her works for Western European Stages, winter 1997.

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acting, directing and screen writing, the playwright also earned a B.A in sociology from

La Universidad Complutense de Madrid and shortly afterwards a diploma in Gestalt therapy at a highly acclaimed institute in Florence, Italy.10 Pedrero's career in theater

began in 1977 with her involvement in the independent theater movement; in a group

known as Cachivache, she performed in several important productions throughout Spain.

Oliva reports that many contemporary playwrights debuted in this movement. Clearly,

the advantage of working closely in a team environment enabled the amateur to gain keen

insight into the many different aspects of staging a play: acting, directing, producing, creating sets, lighting, improvising, working with a budget, logistics... "El oficio se adquería en el mismo grupo, no sólo en el de la interpretación, sino el resto de tareas propias de la escena" (38).11 During this time period, Pedrero started writing as well.

Frustrated by the lack of current and pertinent material available for Cachivache to

perform, especially short dramas dealing with the key social issues that Pedrero takes to

heart, the then actress decided to take on the task of filling this void.

The dramatic political and social changes that emerged at the end of the forty-

year Francoist regime in 1975 failed to generate the long-awaited plays of

high quality that would deal candidly with the pressing issues in a rapidly

changing society. Pedrero's dissatisfation with the theater's state of affairs led

her to request that her former husband,... Fermín Cabal, create a play of social

10 "Es licenciada en Sociología por la Universidad Complutense de Madrid y Diplomada en Psicología Gestáltica por el Instituto de Gestalt de Florencia. Realiza estudios de Interpretación y Dirección de escena con Zulema Katz, Dominic de Fazio y Alberto Wainer, y de Estructura Dramática con Jesús Campos y Fermín Cabal" (CV). The biographical information was provided to me directly from Pedrero. I include her curriculum vitae and biography in their entirety in Appendix 1 and 2. 11 Although Cachivache disbanded in 1984, Pedrero is still involved in all areas of theater production. For instance, she has produced several of her own plays as well as those of other writers as well as shares her expertise by teaching classes and heading seminars throughout Spain and Latin America.

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and contemporary immediacy. Thanks in part to Cabal's prompting, Pedrero

decided to write the work herself. This effort resulted in her first play....

[that eventually] became Besos de lobo. (Lamartina-Lens 389-90)

Pedrero's harsh hyperrealist style is a personal quest by the author to address the concerns of a younger audience. Certainly, it is also an expression of dismay at the shortcomings of the new democratic Spain to care for its disenfranchised as well as a cry of despair at her country's uncertain future. Undoubtedly fueled by her exposure to the many recent sociological studies during her university courses in Madrid and Florence, the author develops her own version of neo-realism that subsequently differs from her peers in several key aspects. Firstly, a common thread of discontent links many of

Pedrero's plays as all interpersonal conflicts seem insurmountable and tied in one way or another to the financial successes or failures of her characters. Secondly, the protagonists tend to be unfaltering loners, yet on close examination seem pushed into their solitude by defeat or abandonment. Emotionally insecure and distrustful of the people around them, these individuals lack the know-how to reach out to other characters, even if they happen to be friends or spouses. Moreover, Pedrero underscores her protagonists' desperate yearning for this deprived companionship and endeavors to show their deep inner suffering. Thirdly, the dramatist teases the spectator (creating a climate of constant suspense) by making extensive use of a wide range of classical and modern techniques in playwriting learnt both through her experience as a stage actor as well as in her theatrical studies. The theater-goer, frustrated by the absence of empathy, solidarity, and trust among characters, clearly appreciates the root of the quandary -- miscommunication and lack of cooperation -- yet waits in vain for the moment when the protagonists should

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realize that an amicable resolution of the conflict is well within reach. Although a

fleeting connection, often through role-play, offers a glimmer of hope, the bond is soon

severed, leaving the spectator bewildered at the plays' open-ended denouements. The

audience must then wonder if closure is possible and ascertain for themselves the author's

implicit social message.

In recent years Paloma Pedrero is proving to be one of the most important

playwrights in contemporary Spain. The number of articles and critical studies on her

work have increased since her debut on the Spanish stage in the 1980’s. Her plays,

translated into numerous languages, have gained wide recognition abroad. Scholars have

been eager to unravel the complexities of her texts so relevant to our changing world.

Indeed, many important aspects of Pedrero's theater have already been widely analyzed --

including the role of metatheater, the many references to eroticism and sexuality, the

consistent use of symbolism as well as the visual and postmodern nature of certain plays.

Moreover, critics now see Pedrero as a forerunner in feminine writing.12 Nevertheless, I

am confident that a study of the psycho-sociological dimensions of her theater as well as

the mechanisms by which the playwright transmits her social message is essential to a

greater understanding of her works, especially in light of the importance of her studies on

the writer's weltanschauung.

In her 1995 anthropological drama, La isla amarilla, in which Pedrero compares

and contrasts contemporary Madrid with a primitive tribe living on a (fictitious) Pacific

island, the playwright offers the spectator a rare insight into her views on Western

12 Numerous significant studies on Pedrero's plays deal with the role of women and the feminist aspects of her work.

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La isla amarilla the author assumes a more didactic stance as she must expose point by point her ideas on life in Spain. Two critical issues arise:

1) La isla amarilla asserts that the goal of individuals in Western society

revolves around the amassing of capital which defines his/her status and

determines all aspects of his/her existence, including physical appearance,

health, even happiness. Further, whereas a definite path to achieving this

success appears available to all, significant sectors of society are

marginalized and suffer because they are denied categorically any possibility

at achieving this collective goal in life.

2) As a result of socialization into the aforementioned social structure, the

play alleges that individuals are subsequently pitted against one another in

bitter rivalries (even husband against wife), which inevitably thwarts the

fundamental nature of human beings to collaborate and construct meaningful

relationships. Westerners, thus, resign themselves to live unhappy solitary

existences. Moreover, they mistake even good intentions for aggression and

often resort to preemptive action to feel safe; hence, everyone is seen as both

a victimizer and a victim. However, since human beings instinctively desire

to bond, people clumsily seek out companionship but only temporarily

13 The play is based on a real case study that Pedrero analyzed as a student at La Complutense by which a real Samoan tribe in the nineteenth century was, in theory, able to choose whether or not to permit colonization by a European power. The island people weighed the pros and cons of collaboration with the Europeans to determine whether or not their society would change for better or for worse after adopting Western ways.

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succeed, and in this case only after letting their guards down: for example,

by consuming alcohol and drugs in large quantities, visiting dubious

nighttime settings (such as nightclubs, bars, parks or brothels) or indulging in

other escapist activities such as role play or fantasies...

In chapter 1 of my dissertation, the pathology of deviance, I will analyze the first major point that Pedrero mentions in La isla amarilla. Using several pertinent theories in

sociology -- such as Merton’s theory of anomie, Becker’s labeling theory and Todorov’s

treatise La vie commune -- I propose to examine the mechanisms by which the

contemporary consumer society marginalizes individuals. In addition, I will categorize

the major protagonists of several of Pedrero’s plays into five different groups of deviants

-- conformists, innovators, ritualists, retreatists and rebels -- depending on whether or not

the character accepts, rejects or renounces involuntarily the goal of Western society

(monetary success) and/or the prescribed ways the social order insists they attain that

objective (i.e. by hard work, studies). I will also make use of several press articles and

books written by contemporary Spanish writers to demonstrate that the theories I study

are relevant to the both Pedrero and her young audience.

In chapter 2, the pathology of communication, I study Pedrero’s second point and link it

directly to the playwright’s interest in Gestalt theory, which emphasizes a returning to

one’s true nature by shedding the disastrous effects of years of negative socialization.

Although the aim of the therapy pertaining to Gestalt is to teach both greater self- awareness as well as an individual’s awakening to the fact that all people are connected

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by a common social plight, Pedrero’s characters rarely overcome their cultural baggage

let alone seem prepared or willing to make the sacrifices necessary to reach true

interpersonal harmony. On the contrary, self-realization or the ability "to put oneself in

the other" seem an unattainable feat for her protagonists. Therefore, the theme of this

chapter inevitably revolves around her characters’ failure at Gestalt. I will apply

pertinent theories of socio-psychology and communication -- i.e. the notion of equity and

exchange; roles and relationship codes; the mirror effect; studies on verbal, non-verbal

and para-verbal communication -- to offer insight into the consistent malfunction of

relationships in Pedrero's plays -- be they love, friendship or camaraderie. Moreover, I

will examine the author's frequent recourse of role-play and escapism to transcend the

impasse in communication.

Chapter 3, the pathology of reception, takes the form of a structural analysis of Pedrero's

latest play, En la otra habitación (2004). Employing a wide variety of techniques and

rhetoric -- ranging from classical Aristotelian rules to Chekhov's withholding of

information to Brecht's alienation effect -- Pedrero strives to provide her audience with

"un espectáculo total" (Ladra 21) or a play which simultaneously speaks to their

emotional, intellectual and spiritual needs. Reminiscent of earlier works by Pedrero, En

la otra habitación demonstrates the author's skill at manipulating "distance" in her theater for dramatic effect. Indeed, an intense identification with her archetypal characters coupled with the needed detachment from the poignant conflict at hand creates Pedrero's quintessential audience stage relationship, conducive both to the high emotional reaction as well as to the deep personal meditation that the dramatist aspires to trigger in

Taylor 17 spectators. Pedrero, keenly aware of the unlikelihood of her plays to spur massive social change, focuses on reaching the individual spectator who, filtering the subject matter on a personal level, may draw parallels to his/her own daily existence, modify some habits or ways of thinking which, perhaps, in the long run, may indeed contribute to a wider reevaluation of the social structure.

Viewed in its entirety, the common theme of my dissertation is the pathology of alienation.

Alienation in Pedrero’s work is threefold: macro-alienation or marginalization in society, micro-alienation or estrangement among individuals, as well as an alienation effect on stage in the form of distancing and retrospection for the spectator. Suffering characterizes much of Pedrero's work: firstly, her characters must cope with a social system that denies them access to the fruits of success; secondly, they thwart attempts to create the long-lasting meaningful bonds they crave. Her plays bear witness to the struggle of common people to surmount obstacles and transcend handicaps to find a modest degree of happiness. In spite of recurrent failures, her protagonists are nonetheless survivors, seen in the fact that the author seems so reluctant to bring any closure to their stories. Any resolution to her dramas is relegated to the spectator, whose role, consequently, similar to that of her characters, is also to suffer, discover, empathize, deduce, understand and then react. Pedrero, believing that theater should disconcert and cause commotion, incites her audience to take an active role in deciphering the many levels of her plays and forces them, at times, to doubt the relevance of their entire belief system.

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Chapter 1

The pathology of deviance

Qué pena. Yo también tengo que estar por la calle.

Mi vida está por las calles. Los argumentos de mis

novelas están en la calle, mis personajes los encuentro

en la calle. Tengo que salir a vender mis libros a la calle.

Qué pena que no sepan esperarme. (Estrella in Una estrella 258)

At each moment in history, a dominant voice will emerge, speaking on behalf of the entire society, claiming to represent its values and norms, and intending to serve as a model for all to adhere to. Nietzsche wrote: "People recognize a particular piece of philosophy or scientific theory as 'true' only if it fits the descriptions of truth laid down by the intellectual or political authorities of the day (Selden 98-100). While philosophers disagree on whether power (Michel Foucault), economics and social class (Karl Marx), or prestige (Max Weber) determine the substance of leading contemporary thought, the result is the same, the marginalization of sectors of the population who do not fit into the mould. In a recent interview for the television program Autor, Autor, Una Pasión,

Paloma Pedrero speaks of her desire to give a voice to these outcasts. Wandering through Madrid's streets, parks and squares, the author finds inspiration in "gente anónima, gente que no vive en castillos." Pedrero informs: "Tomo las cosas en la calle...trabajo a partir de eso... y saco su historia." Echoing similar postures taken by her characters, Pedrero expresses contempt for the mainstream, stating that the executive's

Taylor 19 existence "El yuppie no me atrae..." dulls in comparison to the underdog whose lifestyle abounds in "historias maravillosas y menos maravillosas, pero siempre verdaderas."

Socialization and marginalization

Stephen Spitzer suggests that "the most important function served by the superstructure in capitalist societies is the regulation and management of problem populations" (Pontell 98). The scholar identifies a system of five crucial rules that everyone must heed: "1) the capitalist modes of appropriating the product of human labor; 2) the social conditions under which capitalist production takes place; 3) the patterns of distribution and consumption in capitalist society; 4) the process of socialization for productive and non-productive roles; 5) the ideology which supports the functioning of capitalist society" (100). Hence, every citizen must willingly take part in the workforce, accept the values of the consumer society and, in addition, support and adhere to the system's precepts, goals and institutions. Further, Tvetan Todorov in La vie commune describes an intricate web of both positive and negative social recognition (la reconnaissance de conformité and la reconnaissance de distinction) which eventually socializes the vast majority of people so that they eventually end up complying with all of society's requirements.

Ces deux catégories s'opposent l'une à l'autre: ou bien je veux être perçu

comme différent des autres, ou bien comme leur semblable. Celui qui espère

se montrer le meilleur, le plus fort, le plus beau, le plus brillant veut

évidemment être distingué parmi tous;... Mais il existe aussi un tout autre

type de reconnaissance... chez les personnes... qui tirent leur reconnaissance

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du fait de se conformer... aux usages et aux normes qu'elles considèrent

comme appropriés à leur condition. Ces enfants ou ces adultes se considèrent

comme satisfaits lorsqu'ils s'habillent comme il convient... lorsqu'ils peuvent

émailler leurs conversations de références appropriées, lorsqu'ils prouvent

leur appartenance indéfectible au groupe...14 (108-9).

Seemingly, the more one diverges from or opposes the status quo, the more likely marginalization will occur. In support of Todorov's position, Lavergne Thomas names a wide range of methods (rules and sanctions) that the dominant social structure employs to keep the public from straying too far from the conventional models;15 folkways (habits), mores (practices) and laws serve as negative sanctions while awards and public recognition provide incentives. "Norms regulate behavior... incentives or threats of sanction permit such regulation... the role of power in control is fundamental" (Thomas

59). Thomas’ research underlines the ubiquitous nature of social control16 as well as its changing character.17 Finally, since individuals are initiated into society from a young age, most learn to conform to the prevailing norms as second nature, yet compete for

14 These two categories oppose one another: either I want to be perceived as different from others, or I want to be seen as exactly like them. He who hopes to show he's the best, the strongest, the most handsome, the most brilliant want obviously to distinguish himself from the others;... But there exists another type of recognition... whereby people... get their recognition by conforming.. to the customs and norms considered appropriate to their condition. Children or adults feel satisfied whenever they dress like they should, spice up their conversations with appropriate reference, and prove undeniably their belonging to the masses. 15 Lavergne Thomas comments on the social function of a large number of sanctions (positive and negative) and (formal and informal): admiration, applause, motivation, smiles, frowns, critiques, jokes, ostracism, ridicule, rejection, acknowledgement, prizes, encouragement, discouragement are but a few. 16 These controls are institutionalized in the family, church, private associations, schools, and the state. 17 A large part of Thomas' study deals with changing character of society. Some restrictive norms which were characteristic of the past ( i.e. marriage practices in Victorian times or taboos on sexuality have disappeared) where as other new restrictions may take root (i.e. drinking and smoking practices since the 1950's acquire new negative connotations in the present). Actions resulting in marginalization in other epochs now are non-existent, but new marginalization can occur where it did not exist previously.

Taylor 21

personal acknowledgment within the set-up of the hierarchy.

In contrast to this early socialization, La Isla Amarilla gives Pedrero both a

unique opportunity to examine the logic of contemporary values as well as to criticize a

system which alienates a large sector of its population. In this play, the Samoan king

(Kuavi), newly enlightened to Western civilization after a trip to Europe, recounts his

experience abroad to his adult subjects so that they may, in turn, make an informed

decision on whether or not to oppose a European colonization of their island; Kuavi

states the foreigners' intentions: "muchos bienes me han prometido a cambio del metal

amarillo y los hermosos lugares que tiene nuestra isla" (Isla Amarilla 32).18 In light of

the importance of gold for the Europeans, the spectator immediately doubts the colonizer

would even accept a negative decision by the people. Additionally, the theater's audience

serves the dual function of being both La isla amarilla's spectators as well as Kuavi's

group of Samoan peers. Therefore, the public must, in a sense, choose to confirm or

invalidate its own culture. In the course of the leader’s satirical commentary on the

West, the author calls into question the superiority of the "civilized" world, suggesting

that papalagis (Europeans) systematically transform and deform nature into useless

artificial objects: "civilizado significa muy hecho, muy tocado por las manos del hombre.

Por ejemplo, un coco en su árbol no sería algo civilizado. Pero si lo arrancamos, lo

18 Susan P. Berardini in "La isla amarilla: (Re)vision and Subversion of the Discovery" details the historical context of Pedrero's play. "Pedrero was inspired for this play by the speeches of the Samoan chief Tuiavii of Tivea, who traveled to Europe for the first time in the 1920's to explore and experience the "civilized" world. Tuiavii's speeches were published by the German anthropologist Eric Scheurmann, who invited the chief to travel with him to Europe, and Pedrero read them in the late 1970's" (Navarro 275). The chief apparently did not criticize all aspects of European society. In fact, he converted to Christianity, and encouraged his subjects to follow his example. In her note to La isla amarilla, Pedrero informs of her decision not to approach the subject of religion. "Eligí, claro, los aspectos que más me interesaban de los discursos y descarté, sobre todo, aquellos que tenían que ver con la moral y la religión" (22).

Taylor 22 cortamos, lo machacamos, lo mezclamos con semillas y hacemos con él un gran pastel, ya podríamos decir que ese coco está civilizado" (Isla Amarilla 32). One could argue that the socialization process similarly transforms western man into an artificial being.

Point by point, Kuavi discredits the pillars of modern society and condemns a world which strikingly resembles contemporary Madrid. Robert Muro in his prologue to La isla amarilla summarizes well the points brought up in Kuavi's (Pedrero's) discourse: "la insolidaridad y la competencia extremas, el consumo desaforado, la brutal división del trabajo, la maquinización, las aglomeraciones urbanas y sus efectos sociales" (15).

Implying that the social structure outlined by Spitzer may be unnatural, Pedrero suggests that the Polynesians (spectators) could well become marginalized on their own island should they chose the wrong option. Moreover, bittersweet images of "paradise lost" abound for the informed readers/spectators who suspect that colonization is imminent.

Indeed, reinforcing this point, Pedrero's alludes to the recent nuclear tests carried out by the French in the South Pacific.

Los papalagis (Europeans) no han conseguido todavía dominar la salida de la

luna o la dirección del viento. Y aunque tienen mucho miedo a la muerte sí

han inventado máquinas para matar. Para matar a muchos a la vez, a

multitudes de seres humanos con un sólo gesto. Tirando desde sus alas de

fuego bolas de la gran muerte. Así es, mis hijos del sol. Incluso algunas de

esas bolas son silenciosas, para acabar con todo lo vivo sin lucha ni sangre.

(85).

The playwright achieves her aim of creating a yearning for a simpler, perhaps healthier, lifestyle. "By merging her spectators with the tribal audience, Pedrero manages to

Taylor 23

distance them from their [capitalist] world so they may contemplate and reevaluate their

lives from a more objective point of view" (Navarro 277).

Deviance

Throughout La isla amarilla, Pedrero paints a bleak picture of Madrid. Indeed, the society appears contradictory, preaching, on the one hand, strict conformity to a system that stifles personal differences, while on the other hand pitting one individual against another in a battle for status, power and wealth. Todorov believes that the conflict between conformity and distinction is ever-present in the psyche of every western citizen and influences daily life:

Ces deux formes de reconnaissance entrent facilement en conflit: la

distinction favorise la compétition, la conformité est du côté de l'accord. Me

tiendrai-je au bord du trottoir pour me somettre aux règles communes et

m'accorder ainsi la reconnaissance intérieure de conformité, ou traverserai-je

la rue au milieu des voitures hurlantes pour provoquer l'admiration des

copains19 (110).

Nevertheless, the Bulgarian philosopher believes that with age the desire for distinction

disappears as people resign themselves to their fate (112). Pedrero, in La isla amarilla,

tends to suggest that the conflict remains strong throughout life. Kuavi informs the

islanders that amassing useless objects (36), keeping up with new uncomfortable clothing

19 These two forms of recognition enter easily into conflict: distinction favors competition, conformity is on the side of agreement. Will I stand near to the edge of the sidewalk and abide the common laws and give myself the interior satisfaction of conforming, or will I cross the street in the middle of fast moving cars to gain the admiration of my buddies.

Taylor 24

fashions (34), and undergoing plastic surgery to look younger and more attractive (61)

characterize all papalagis in general (61). Pedrero, however, links the conflict consistently to money. "Muy pocos papalagis están a gusto con su cuerpo hasta el punto de que los papalagis ricos en papel tosco, se cambian también la nariz, la boca, los ojos...

Los pobres, en cambio, utilizan otras cosas para olvidar...." (61). Thus, a vicious cycle takes root in which capital is used to "distinguish" individuals who are, nevertheless,

"conforming" to their society's requirements (consumerism, youth, fashion). The poor, for their part, are doubly marginalized as they are denied access to the means of achieving both "distinction" and "conformity."

Robert K. Merton developed a theory called "anomie" or normlessness to explain why certain groups of people are alienated. The sociologist believes that money has structured western society to the point that creating wealth is the one true goal of all individuals, everything else secondary or a symptom resulting from (the lack of) money.

Likewise, all social differences can be traced to the collective struggle to succeed in

ruthless competition. In effect, it is necessary to marginalize sectors of the population for

some individuals to triumph. The quest, however, proves unfair, not only for the

economically disadvantaged but also for minorities who are discarded in the attempts by

the majority to attain and maintain financial supremacy. "Anomie arises from an

incongruent emphasis in a society upon the relative importance of attaining culturally

valued goals on the one hand, and the availability of legitimate, institutionalized means to

reach these goals on the other hand" (Merton in Goode 80)20. Merton further presents

20 Many of my sources on sociological issues (i.e. deviance, anomie) come from annuals containing numerous case studies compiled by Goode, Pontell, Thomas and Merton. See bibliography

Taylor 25 the disparity between "goals" and "ways" in his three axioms: "First, all should strive for the same lofty goals since these are open to all. Second, present seeming failure is but a way-station to ultimate success. Third, genuine failure consists only in the lessening or withdrawal of ambition" (80). Thomas seems to reinforce Merton's study revealing that

75% of the population remains in the same social class for life and expels the myth that monetary success and rewards are widely available (Thomas 63).

In La isla amarilla, Kuavi comments on both the papalagi's drive for earning money (the goal), and the unfair practices in competition (the ways) which discriminate and marginalize the masses.

On money:

Ese especie de papel tosco o metal redondo que habéis visto depositar sobre

la mesa, es lo más preciado, deseado y adorado en el mundo de los papalagis.

Es tanto el amor que tienen al metal redondo.... (46).

Los papalagis obtienen dinero de todas las formas posibles. En verdad es

algo absurdo porque piden dinero por todo y pagan dinero por todo. (La isla

amarilla 50)

On competition and division of labor:

Un hombre construye botes. Cuando tiene suficiente dinero para su comida,

su cabaña y su estera, y un poco para ahorrar, deja a otro hombre trabajar con

él. Eso sí, le dejará el trabajo más feo y le pone las manos sucias. Del dinero

que gana con el trabajo del otro hombre le da un poco a él y se guarda la

mayor parte en su caja. Tan pronto como puede busca otro hombre para

trabajar por él, y más tarde a un tercero. Cada vez más y más hombres estarán

Taylor 26

contruyendo botes para él. Hasta que llega un momento en que él ya no hace

más que tumbarse en su estera.... y recibe todo el papel tosco que los otros

ganaron por él (51-52).

Merton's theory of anomie identifies a number of ways people respond to the discrepancy between the need to prosper monetarily and the inability to reach the universal aim through the institutionalized means of hard work. The sociologist employs a broad definition of deviancy; in fact, any individual not accepting unconditionally the cultural goals and participating actively with success in the defined process can qualify as a deviant. In essence, Merton's deviant is someone who deviates in some respect from the goal and/or the means of mainstream culture.

Merton's Theory Of How People Respond

Ways Of Responding Cultural Goals Socially Accepted Means

1. Conformity Accept Accept 2. Innovation Accept Reject 3. Ritualism Reject Accept 4. Retreatism Reject Reject 5. Rebellion Reject/Replace Reject/Replace

In the following section, I plan to analyze each category of response and link the

behavior to prominent characters in Pedrero's plays, especially those written in her early

period (1980's): Invierno de una luna alegre, Besos de lobo, La llamada de Lauren and

Taylor 27

Una estrella. In addition, I will make some reference to Howard S. Becker's Labeling

Theory which sheds light on those individuals who, albeit conformers, are nonetheless branded as deviants and as such equally marginalized.

Becker's Labeling Theory

Obedient Behavior Norm-Breaking Behavior Not perceived as deviant Conformer the secret deviant Perceived as deviant the falsely accused the pure deviant

I. Conformity

Conformers embody all the qualities necessary for triumph in the capitalist

world. Considered as role models, they accept the instituted goal and appear to have

achieved a high success in a relatively short period of time by means of hard work.

Having made a name for themselves, their upward movement seems unbound. Though

rare in Pedrero's work, when present, the playwright portrays the conformer in a very

unfavorable light. Moreover, contrary to what one might expect, these characters tend to

be female protagonists, described as physically attractive and talented in artistic

professions. Nevertheless, on closer examination, the same negative traits repeat in each

character. The women, capable of manipulation and treachery, readily sacrifice love,

family and friendship to reach their heights. Pedrero belies the women's success stories

by questioning both their happiness and real quality of their work. The playwright also

suggests that though their triumph may sustain them for a time, the unquenched drive for

further success may well backfire in the future.

The three examples of the conformer are María in Color de agosto, Mercedes in El

Taylor 28 pasamanos, and Paula in En la otra habitación. All three protagonists excel in their respective artistic professions: María achieves fame as an artist, Mercedes as a television reporter, and Paula as a professor for actors. In appearance, each has obtained the coveted goals of wealth, influence and glory despite humble origins; Pedrero makes allusion to the fact that most Madrileños readily recognize and admire the three characters. Moreover, the women take pride in their accomplishments and notoriety.

María states: "tengo todo lo que deseaba; esto, un chalet con piscina, dos criadas, un matrimonio..." (Pedrero 124). Mercedes likewise thinks her status improves the plight of others: "Estoy aquí para ayudarle. Mi programa tiene una gran audiencia... (Pedrero 72).

In Paula's case, the professor stresses the long arduous process she undertook to triumph: addressing her daughter Amanda: "[Yo] era muy joven pero ya estaba trabajando fuera de casa. Ya sabía lo que era la humillación... Trabajaba diez horas diarias... Lo que quería decirte es que yo sabía que tenía que luchar como una loba para salir de ese infierno....

Por eso me puse a estudiar... A estudiar por la noche.... Ni te imaginas lo que he tenido que pelear para que me respetasen, para tener mi propio nombre" (En la otra habitación

44-46). As suggested in La isla amarilla, these characters participate actively in the consumer society, spend money excessively and use it to wield power: for example,

María tries to buy Laura's friendship in Color de agosto and Paula showers her daughter in gifts (a trip to Paris, a night in an expensive restaurant) both to distance herself from

Amanda leaving her free to enjoy her success outside the home and also to avoid the responsibilities of motherhood. In addition, as seen in La isla amarilla, all three characters respond to fashion and have achieved aesthetic beauty by means of purchase power. In Color de agosto, the playwright comments on María's exceptional beauty by

Taylor 29 comparing her to Laura, the unsuccessful friend in hardship. Though Laura was originally the most attractive and most feminine, María has far surpassed her due to her ability to acquire magical creams and make-up as well as to eat healthy foods. Laura addresses this issue: "Estás joven, muy joven y bonita, pero... la fama y el dinero te han hecho demasiado perfecta" (127). In En la otra habitación, Pedrero suggests that Paula has become even more youthful in appearance than her eighteen-year-old daughter, compounded in the fact that the professor manages to attract Álvaro, the suitor destined for Amanda. In her first scene in El pasamanos, Pedrero portrays Mercedes as beautiful but fake, "rubia de peluquería" (69). Typical of the conformer, the three protagonists manipulate others in legitimate ways to reach their heights: María takes her inspiration from Laura who admits "Fuiste una gran maestra para mí" (126), Paula succeeds at the expense of her daughter's well-being, and Mercedes takes advantage of senior citizens in distress (by coaching interviews and editing footage to exaggerate fear and sorrow) to appear as a hero at the end of her talk show "Las cosas de la vida." Speaking of

Mercedes, Pedrero states specifically: "Es un mal bicho, le tengo una antipatía especial.

Es una manipuladora..." (Villán 61). Nevertheless, Pedrero's plays demonstrate that the conformer's money has not brought happiness; all three women are frustrated, restless with the status quo, and yearn for real happiness. Their marriages and friendships are typically depicted as fake, maintained only for convenience and image. Pedrero consistently employs the "shadow" symbol to show that these protagonists smother all other characters in their quest for greatness. The "shadow" kills friendship and marriage, creates tensions at work and destroys daughters who cannot compete with the success of a perfect mother. For Pedrero, the conformer is a person who must subjugate everyone

Taylor 30 else in order to reach her lonely, insecure position at the top. The playwright casts doubts on both the value of Merton's goal as well as the ethics involved in the prescribed way to accomplish it.

II. Innovation

Innovators, like conformers, aim to succeed in society and reap the benefits of a capitalist system. Believing strongly in the institutionalized goal of procuring financial security, they hope one day to possess the comforts, prestige and power of the conformer.

In this sense, innovators are not rebels; they do not wish to change society nor abstain from participating in it. However, innovators do find the proscribed methods unfair or inaccessible. Innovators frequently hail from impoverished families, are orphans, or have been ascribed a low status in society from which a rebound proves daunting. In addition, the category also includes individuals who previously had reached a certain degree of success but subsequently lose their status or revenue. This type of failure concerns those who face unemployment, possess criminal records or have developed physical or mental deficiencies. Merton defines the quandary faced by the innovator: "first, incentives for success are provided by the established values of the culture and second, the avenues available for moving toward this goal are largely limited by the existing class structures"

(Merton in Goode 85). The name, innovator, derives from the conclusion drawn by this group that to reach the aspired goal, they must resort to alternative means (i.e. crime, panhandling, contraband). In summary, "the goal consecrates the means" (85). Becker, citing the example of white-collar crime, believes that western society tolerates innovation insomuch as it remains a secret. For the father of the labeling theory, a

Taylor 31

person becomes marginalized only after being perceived by others as a deviant, (Becker

in Goode 30). Likewise, innocent people may be branded as deviants even though they

have not strayed from any norm (i.e. physical appearance, race, handicap).

The innovator appears frequently in Pedrero's early works, yet disappears from

her plays after 1990. One plausible reason lies in the unemployment crisis found in the

Spain of the 1980's. In Unemployment and labor market flexibility: Spain, Juan Jimeno

and Luis Toharia document this crisis, revealing that the unemployment rate topped

21.9% nationwide in 1985, and hit La comunidad autónoma de Madrid particularly hard

where it reached 22.2% by 1987. Moreover, the researchers add that the effects of the

turmoil were certainly even more widespread; indeed, after 1984 the conditions for

receiving unemployment benefits changed to restrict the maximum duration of

compensation to two years and only after having maintained a full time contracted job for

12 months. In the same study, Jimeno and Toharia demonstrate that short-term contracts

of less than one year tripled in Madrid and that no new training programs to instruct the

unemployed in other professions were created. Thus, the official unemployment rate lies far below the real number of people out of work.

Amando de Miguel, in Los españoles: sociología de la vida cotidiana (1992), appears to agree that theses conditions led to a rise in "innovation" in Spain.

La sociedad española actual valoriza hasta el límite el éxito personal y su

símbolo más característico, el dinero. Los fines son aceptados por casi todos,

pero la misma sociedad no proporciona los medios legítimos a todos sus

componentes para alcanzar esos valores. La presión rompe por algún lado,

por los indivíduos en una posición más débil, sea por razones de

Taylor 32

personalidad, educativa, familiares o cualquier otra índole (232).

The sociologist also comments that young people in Spain are further discouraged by the

lack of challenging career possibilities and adequate remuneration: "el trabajo para los

jóvenes es el 'curro,' una fuente de dinero y ninguna satisfacción más" (151). Further, the

inability for Spaniards to find employment forces them to postpone marriage and live

with their parents well into their twenties or even thirties (144). In conclusion, David

Freyer, in Unemployed People: Social and Psychological Perspectives, associates long-

term unemployment with despair, depression, fatalism, apathy, substance abuse and a rise

in crime and violence21, all leitmotifs of Pedrero's plays in the 1980's.

Invierno de una luna alegre

The male characters - Olegario, Piña, Victor and Felix

The setting of Invierno de una luna alegre (1987) takes place in and around the

low-cost flophouse (pensión) in central Madrid, in which Olegario, Piña, Victor and Felix

(and later Reyes) live. Each character exhibits the characteristics of the innovator. On the one hand, all the men deem society's goals within their reach and believe to be participating in a process which will bring future rewards. On the other hand, the reader/spectator realizes immediately the gravity of the situation: The men live in poverty, do not work, fail to improve their existence, and appear close to rock bottom.

The living conditions in the pensión are appalling. Pedrero describes Olegario's room as

21 Freyer and Ullah studied the effects of a plant closure on the people living in a small town in rural Austria. Though originally a Catholic, law-biding community, the town folk modified their behavior over time to justify stealing. In another study in the same book Marie Johoda found that deviant behavior and a lessening of morality also rose dramatically in England following a similar closure.

Taylor 33

"un habitáculo claramente unipersonal: una cama de uno diez, una pequeña mesa

cuadrada, una silla, una cómoda con cajones, un lavabo desconchado, una lamparilla con

pocos vatios... Todos los elementos son antiguos y pobres" (Pedrero 61). Olegario

prepares meals on a camping stove and all residents share a toilet. Moreover, poverty

takes its toll on their physical appearance. The playwright describes Olegario as "aspecto

de mendigo refinado: ropa muy pasada de moda... Los colores de su vestuario son

heterogéneos y apagados. A pesar de no ser mayor, su aspecto es de viejo" (56). Felix is

also depicted as "cincuenta y cinco años mal llevados" (56). As for Piña, though only

thirty-five, his mental health has degraded to the point she qualifies him as "sonado" (56).

More importantly, none of the men have steady income: Piña cleans the pensión to pay his room and board, Felix obtains some compensation from forced early retirement,

Victor is a student and Olegario a street entertainer. Moreover, the hostal residents fail to acknowledge their predicament, preferring instead to make allusion to fleeting or embellished success stories from their pasts to belie their present void. Olegario, the talented ex-bullfighter, boasts "tomé la alternativa en las Ventas el doce de abril de mil novecientos sesenta y seis" (111), but later reluctantly admits that after one bad bull his career abruptly ended. Unable to forge a new identity, he now plays torero in his street theater and fights a plastic bull. Thoroughly convinced of his artistic talents, the oles and applauses, nevertheless, come from a tape recorder and the public tends to view him as a beggar (58). Piña, likewise, speaks of his success in boxing, "campeón de España de peso ligero de mil novecientos sesenta y uno" (78). Qualified by Pedrero as a bit crazy

(56), the ex-boxer spends his time dreaming of a comeback, boxing into the air and extorting money from the other characters. Finally, Victor, the youngest character,

Taylor 34 appears at first to cope better with his troubles. Even though he demonstrates his gymnastic ability throughout the course of the play, the man accepts early the unlikelihood of stardom and chooses the wiser option of a career in computer science.

Still, a second failure looms on the horizon: "Es malísimo. Lo suspenden todo. Ha repetido tres veces primero" (103). In fact, typical of innovators, Victor invents an illusory life of glamour for his parents in Albacete:

Todo Albacete cree que soy el gerente de Computer, S.A... Tengo un

superpiso en pleno centro de Madrid... Además, yo viajo tanto...Barcelona,

Bilbao... Lo tengo todo controlado. En el momento oportuno les iré a buscar

en un Mercedes. (112-3)

Felix, lacking his own past triumph, enables the other men to continue in their delusions: for instance, he refers consistently to Olegario and Piña as "torero, campeón, artista." In addition, he (re)creates a type of family ambiance by organizing social events (dinners, card games, parties), and above all endeavors to preserve a status quo in the pensión.

The role of Felix as enabler is, thus, central to the play since collectively the men forget their hardship. Freyer and Ullah identify denial as an important defense mechanism that surfaces when individuals cease to participate actively in society. "Denial allows individuals to create a semblance of normal life", fill up time with "daily routines, maintain household activities and sustain vitality" (Freyer 80). The male characters cling to past successes and invent present fantasies to make their lives meaningful and avoid acknowledging their deviant status. In working to maintain the warped vision of reality,

Felix also escapes his own troubles by creating, in essence, a new occupation for himself.

The arrival of Reyes in the pensión is an important development in the lives of the

Taylor 35 men. The protagonist alters their daily existence immediately. Under the influence of the young newcomer, a renewed thirst for success takes root as well as a gradual acceptance of the necessity to recur to alternative mechanisms. Moreover, though Reyes' presence has a positive effect in the beginning, soon discontent breaks out as the men not only compete for her attention but also eventually must recognize and come to terms with their failures. The change appears permanent as the men move first into Freyer's second stage of inactivity known as despair: "acknowledgment of futility.... giving into stealing, hustling or other vices.... ever decreasing morality" (Freyer 80) and later into the final stage known as apathy.

Olegario, the character that introduces Reyes into the flophouse, immediately envisions expanding his street theater to include the young woman. The reader/spectator notices immediately that the collaboration yields both monetary results and satisfaction at having created a successful production: with their one thousand eight hundred and forty pesetas, the two dance in the streets and decide to celebrate their victory by dining at

Burger King (75). Further, Olegario decides to buy more stylish clothing and later visits a beauty salon to cut and dye his hair for a more youthful appearance. A brief illusion of triumph causes substantial euphoria as the two characters relish their ability to partake in the fruits of society, both by "distinguishing" themselves from the other characters (they are now "working" actors) and by acquiring crucial status symbols (Burger King hamburgers and fries, popular music cassettes) and "conforming" to current popular fashion (sweatshirts with American university logos and dresses with tiger motifs).

Pedrero speaks of Olegario: "hasta su comportamiento físico ha cambiado. Una cierta euforia convierte sus movimientos, dándole un aire juvenil" (93). Although the

Taylor 36

playwright seems to suggest that collaboration among outcasts can offset repeated failure,

the success is short-lived since Olegario proceeds to stifle Reyes' freedom: he insists on

controlling all aspects of their theater and discourages her contact with the other men,

especially Victor to whom the young woman is attracted. Despite repeating "no, nosotros

no somos comerciantes, somos artistas" (90), "yo no soy negociante" (103), the

protagonist uses these arguments only as a ploy to denounce Reyes' efforts to modify the

show by incorporating her rock songs and dances, or a gymnastic display by Victor.

Olegario refuses Reyes' input categorically and asserts his dominance over the woman:

he states frequently "se acabó el tema" (101) and "no, he dicho que no" (103).

Reminiscent of the scene in La isla amarilla in which the capitalist exploits employees

for personal gain, Olegario sees Reyes as his means to achieve artistic success, financial

security and emotional happiness. In addition, Susan P. Berardini maintains that

Olegario regains his cherished identity of matador in the scripts he meticulously prepares

for his sidekick; Reyes plays both the bull and the blushing bride.22 Aware of his setbacks

and current situation, he resorts to manipulation of others to reach his personal goals.

Judah Matras considers conflicts commonplace and particularly fierce in the underground

as individuals compete for survival. "The first stuggle [albeit] between the oppressing

classes and the oppressed classes [gives way] to a second struggle between those

competing for remaining resources and power" (Matras 91).

22 In her dissertation El metateatro en las obras de Paloma Pedrero, Berardini studies the metatheatrical aspects of Invierno de una luna alegre. She asserts that the roles Olegario assigns Reyes in their street theatre glorify the ex-bullfighter by emphasizing his bravery, masculinity and sex-appeal, essentially the identity to which he aspires and which he lost that day in Las Ventas. The scholar concludes that he needs the woman to keep to a submissive script for him to appear as hero. By allowing Reyes to alter the theater, his greatness would diminish. Moreover, the inclusion of a youthful and agile Victor into the show takes away his hero status.

Taylor 37

Reyes contributes significantly to Victor's development as well, firstly by urging

him to accept his failure as a student, and secondly by initiating him into street life. The

young man, at first reserved, evolves to smoke hash, pick pockets and perform in

Olegario's street theater. Edward Sutherland speaks of innovation as a learned process:

"Individuals learn patterns of criminal behavior in the same way they learn patterns of

lawful behavior, through their interaction with others" (Sutherland in Goode 65).

Simultaneously Victor renounces the established way of improving his lifestyle and takes on Reyes' deviant behavior. Although the female protagonist teaches the man her alternative techniques in the hope of forming a partnership, Victor soon uses his new found street savvy against his girlfriend. Claiming Reyes from Olegario, Victor declares his intention to make use of the woman sexually to achieve his personal fulfillment and financial gain. Unabashedly he holds contempt for Reyes: "Tiene un culo de lujo.

Nunca había estado con una tía que se lo hiciera tan bien en la cama. La voy a echar de

menos" (115), and persuades her to accept work in strip clubs with him as her agent:

"Habría que discutir el tema del dinero... Me parece una oferta interesante.... Me imagino

que necesitarás un representante. Yo te acompañaré esta noche. Ya verás, voy a sacarle

por lo menos cinco mil diarias" (118-9). The former student, in competition with

Olegario for control of Reyes, prevails as "victor." While the choice of Victor is obvious

for Reyes --"No puedo quererte. Estoy enamorada de Victor" (121) -- changing Victor

for Olegario does not change the previous scheme as her new boyfriend plans to continue

exploiting her to advance his own cause. Lastly, Victor's abrupt departure from the

pensión without paying the month's rent is a final example of the character’s evolution

and acceptance of an innovative lifestyle.

Taylor 38

Piña, after meeting Reyes, also hopes to claim the young lady as his own.

Referring to her consistently as "novia," the weakest character follows Reyes around

Madrid, plans to make a comeback in boxing to impress her and defends the woman from

the other male characters whenever he feels they do not respect her. Indeed, he strikes

both Victor and Olegario in the course of the play. Since Reyes never considers Piña as a

viable pretender for her love and consistently avoids him, the ex-boxer's mental condition

deteriorates throughout the play. By the end, he has lost all connection with reality.

Felix, on the contrary, remains unflappable to Reyes. The retiree, however, enters

passively into conflict with the female character as he rightly perceives her influence to

sabotage his cherished environment. His attempts to undermine Reyes start immediately

and grow in intensity.

Felix reproaches Olegario's absence from the pensión:

Perdona, torero. No teníamos que haber venido, estoy de acuerdo, pero es

que desde que estás con ésa no hay manera de verte el pelo. (81)

The character questions the validity of Reyes' influence due to her youth and

inexperience:

Eso son cosas de libertad, Mucho hablar de libertad y de pamplinas, pero

luego que no les falte su buen plato de judías para llenar la barriga. Los

jóvenes son egoístas, torero, lo quieren todo. (82)

He disdains Reyes by advising Olegario to have a brief sexual affaire with the woman

and leave her:

Que si no te la tiras. (82)

Felix criticizes Olegario and Piña for their changing habits and physical appearance:

Taylor 39

¿Qué te has hecho en el pelo? ¿Cómo te has dejado? Los únicos que se tiñen

son los maricones. (94)

Este chico anda perturbado. A las nueve de la mañana, cuando termina de

limpiar las escaleras, se pone el chandal y se va a hacer futin. (96)

Despite his lack of sympathy for the female protagonist and his desire to counter her

mounting influence, Felix cannot halt the change:

No sé qué pasa en esta maldita pensión, que estáis todos revolucionados. (96)

Seizing every possible chance for criticism, the character's attitude becomes ever more aggressive as he resorts to manipulation or force to defend his order:

El otro día pasamos y os vimos actuar.... Una vergüenza... Pues parece una

cabaretera. Lo siento por ti. Te consideraba más serio. Te está lavando el

cerebro... A tu edad. (96)

To Piña:

Vámonos Piña. Tú te vienes conmigo, ahora mismo. (Lo agarra). (97)

Not surprisingly, Felix welcomes Reyes' departure and expects to reestablish the atmosphere of the beginning of the play:

Muerto el perro, se acabó la rabia. (127)

¿Desde cuándo hemos necesitado a una mujer más de diez minutos seguidos?

(128)

Despite Reyes' departure and Felix jubilation at the prospect of reaffirming the artificial climate of a pre-Reyes' time, the men seem changed forever. Speaking of

Olegario, Pedrero now writes that "tiene una mirada ausente" (123). Both Olegario and

Piña recognize the cruel truth of their predicament. Olegario, for instance, can no longer

Taylor 40 believe in the validity of his street theater; he knows he is not a bullfighter nor an actor.

"En el suelo está colocada la mantita redonda color arena, el toro y el torero de plástico de la primera escena. Olegario los mira sin decidirse a hacer nada con ellos" (123). Felix asserts to Olegario: "Estás muy cambiado, torero. No me gustas" (128). Piña also acknowledges the impossibility of turning back time: "¡Me habéis engañado todos!

¡Nunca más podré confiar en vosotros!" (127). After denial and despair, the men move into apathy, the third stage described by Freyer: "passivity, an absence of any effect or duty, neglect, with a mental outlook of indifference" (Freyer 80). Substance abuse becomes commonplace by this point. Indeed, the men sink into alcoholism as hopelessness takes over. "Os propongo una borrachera buena. Ya verás como todo se olvida... Venga, vamos a tomarnos un copazo" (127-8).

The female character - Reyes

Reyes accepted a deviant lifestyle long before her appearance in the pensión and consequently defines herself as an innovator. In contrast to her male counterparts, the protagonist possesses a strong will to survive in the underworld: "No te preocupes por mí, yo me las apaño" (65). Believing firmly she will become a famous entertainer, she speaks confidently of her future: "Un tío del público... me quiere contratar para una sala de fiestas. Que me ha visto cantar.... ¡Me va a lanzar a la fama!" (117). Further, Reyes' discourse reveals an obsession with money: "A mí me va la marcha de las pelas" (63);

"sacamos más pasta" (74); "las pequeñas cantidades no me van" (75); "somos ricos.... venga, yo tengo pasta" (80); "tres talegos" (81); "ganaremos más pasta" (101); "¡cuatro talegos!" (119). In addition, she readily makes use of every recourse to obtain it

Taylor 41

(begging, stealing, hustling, stripping). Despite her ambition, Pedrero paints a bleak picture of a woman in dire straits. Reyes is famished: "llevaba dos días sin comer" (61); homeless "hace tanto que no pillo un catre así... ¡Jodé, una cama!" (66); dirty "no me los laves, no se van a secar" (68); and recently released from prison for burglary: "Acabé con dos meses de talego. Hasta anteayer" (63). The character no longer fears her plight:

"Ya encontraré un sitio abierto... ya me las arreglaré" (65), and takes relish in daily pleasures and her cherished freedom: "Necesito vivir, necesito ser libre" (121).

Confident, active and aware of her strengths and shortcomings, Reyes embodies the characteristics of the innovator. Her stay in the pensión proves temporary. Realizing the lack of scope of a prolonged association with the men, she inevitably moves onto new and hopefully better horizons.

At the beginning of the play, Reyes watches Olegario perform his street theater from a distance, noticing in particular the moment he passes the hat and receives "un huevo de pasta" (59) from his audience. Despite his appearance of "mendigo refinado"

(56), he appears pleasant, good-natured and possibly weak; in short, an ideal prey.

Consequently, the woman chooses to engage the man in conversation while he busily packs up his props to ensure an initial surprise as well as the impossibility of escape.

Thus, Olegario must hear out the woman's plea for money. Reyes's ensuing discourse proves both flexible and persuasive:

--¿Me puedes dejar cinco duros para el metro?

--Te he visto desde lejos y te han echado mucha guita. Déjame algo, jodé.

Estoy helada.

--Te vendo un bonobús entero por doscientas pelas. ¿Te hace?

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--(Le para, cogiéndole del brazo) Por favor, tío, déjame algo. Me estoy

muriéndo de hambre...

--(Suplicante) Tío, por solidaridad; dejame algo. Me estoy muriendo de

hambre...

--Te lo dejo a veinte pavos. Tú lo puedes vender a doscientas cincuenta, y te

ganas una pasta.

--No tengo para el metro.

--(Extendiendo la mano) Gracias.

--Que estaba pensando que prefiero que me des los siete duros. Total..., ¿a ti

qué más te da?

--Te juro que son para un bocadillo. Cómpramelo tú si quieres.

--¡Joder, tío! No me metas sermones. ¿A ti qué más te da lo que hago con el

dinero?,

--(Helada de frío) Pues, cómprame un perrito. Ahi al lado hay un bar que los

venden a cuarenta. Mañana te traigo el duro.

--Vale, tío. Me invitas a una caña también y te doy el bonobús.

Relentless and confident, Reyes accomplishes her mission with ease. Her strategy is twofold: to appeal to Olegario's conscience and to negotiate the best deal while seeming conciliatory. The character's request gradually increases from subway fare to sandwiches and eventually even beer in a bar. Reyes skillfully transfers the focus of the discussion to her bus pass and effectively converts her begging into an apparent justified demand for more money. Further, when Olegario yields first to a subway ticket then to five duros,

Reyes ups the ante, taking the previous amount offered for granted. The handshake and

Taylor 43

the thank-yous mark the end of one set of negotiation and the beginning of another.

Though at certain moments in the dialogue the street actor seems aware of the hustle:

"De eso nada, guapa... Tendrá cara... Adiós." (60), Reyes detains him physically from

leaving, reverts to her original discourse of distress and solidarity and then follows up

with a renewed plea for more money. Realistically, given Pedrero's stage directions (una

hora después), the same negotiation tactics proceed for a full hour. Act Two shows

Reyes having made considerable headway, dining in Olegario's room and accepting the

man's offer of room and board and employment. Hence, in a short period of time, the

innovative woman charms Olegario, and ingeniously manages to procure money, food

and shelter on a lasting basis.

Berardini draws a comparison between Reyes and characters of the historic

picaresque genre. The scholar delineates the characteristics of the Spanish pícaro as 1) a

dishonored orphan with a precocious taste for solitude and freedom; 2) a vagabond who

adapts with ease to new situations and changing roles; 3) an observer of a wide range of

different social classes and professions; 4) a youngster with a thirst for financial success

yet consistently checked by chronic poverty and hunger; and 5) a servant who passes

abruptly from one master to another (Berardini 213-220).23 Merton explains that the

Robin Hood character (pícaro) is the epitome of the innovator: "his only means to

23 1) Reyes does not know where she was born: "Desde que me acuerdo, he vivido aquí, en Madrid" (63); celebrates her birthday on January 6, the day of Reyes; and was raised by nuns: "Las hijas de puta de las monjas decían que la cigüeña se había perdido" (63). She entered adult life at a young age: "A los quince años a servir..." and consistently asserts her independence: "Me gusta la libertad" (63). 2) In her short life she has been a maid, a burglar, and served time in prison (63). 3) The girl has observed a broad sector of Madrid's social classes: nuns, business men, prostitutes, rich ladies, the underground. 4) Reyes appears obsessed by money and all ways of acquiring it: "A mí me va la marcha de las pelas, ¿sabes?" (63), but poverty and hunger plagues her (reminder of the first scene in act one). 5) In the course of play the woman depends first on Olegario, then Victor and afterwards probably on the owner of a strip club. She abruptly leaves the hostel to move onto new horizons (Berardini 213-220).

Taylor 44 survival... [depends on] adopting an orientation toward chance and risk-taking..."

(Merton in Goode 88). In addition, robber barons see themselves as victims, retaliate against society by victimizing, and also by scorning all common ethical or moral precepts

(88). Further, rogues selflessly share their profits with other marginalized people. These characteristics obviously apply to Reyes. First, besides a charmer and a hustler, the protagonist demonstrates an acquired expertise in the art of thievery: the protagonist discretely picks a spectator's pocket while performing street theater (76) and boldly shoplifts expensive gold cufflings even with the saleswoman keeping a close eye: "Lo tenía chupado. La dependienta era miope y gilipollas" (100). The woman never shows remorse for any of her illegal acts. Second, Reyes rejects all authority, laws, norms and folkways: "Que se muera la policía y su puta madre" (77), "Yo hago lo que me da la gana. ¡Estaría bueno! A mí con rollos moralistas..." (81). She objects to prostitution only because of low remuneration compared to stealing: "A mí ese rollo no me interesa.

Antes se podía vivir bien... pero ahora se ganan tres perras. la vida sube y los polvos siguen costando lo mismo" (62), speaks of her prison experience in matter of fact terms -- her only regret is the record she will keep (63) --, disdains past friendship gone awry:

"No quiero saber nada de las amistades" (63), and frequently partakes in illegal drugs:

"Lo que sí tengo es una china cantidad de guapa" (85). Third, Reyes shares her exploits with the men in the pensión: proudly waving the stolen wallet she proclaims: "Venga, yo tengo pasta. Os invito a todos" (80); later she informs of her desire to support both

Olegario and Victor by her stripping: "Yo quiero que estemos los tres juntos. Si yo gano esta pasta podríamos vivir muy bien" (119).

David Matza, in his theory "Delinquency and Drift", supports Merton's comments

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on the robber baron and gives further insight into the mental processes that turn victims

into victimizers. The scholar affirms that two processes take root by which "legal norms

are neutralized and distorted to fit immediate needs" (Matza in Traub 147): Denial of the

victim and denial of injury. In the first case, "the moral indignation is neutralized by an

insistence that the injury is not wrong in the light of circumstances. The injury, it may be

claimed, is not really an injury; rather, it is a form of rightful retaliation or punishment.

The victim is transformed into a wrong-doer" (147). In the second instance, "the

delinquent argues that his behavior does not really cause any harm despite the fact that it

runs counter to the law" (147). In a series of justifications, Reyes explains the reasons

for which she became involved in thievery. For the protagonist, studies become useless

as the end result remains inevitably unemployment: "¿Para qué [estudiar]? No lo

entiendo; para acabar en el paro" (63). Further, she generalizes the rest of jobs available

as low-wage and unattractive: "los que hay son una puta mierda" (63). Providing the examples of prostitution, menial labor and her own experience as a servant for wealthy families, she concludes her stealing was justified: "Así que mangaba joyas a las señoras.

Bueno, no a todas... A algunas que tenían oro por un tubo" (63). In regards to thievery,

Reyes becomes the judge of her victims. Perceiving them as oppressors, she argues that salaries and conditions should have been better as well as the work more interesting.

Later, Reyes admits that prior to her arrest, she had evolved in her criminal activities to target almost anyone not living on the streets: "Acababa en la calle. Me monté un bisnes, pero pobre, ¿sabes? Mangar a lo pobre es mal asunto..." Throughout the play, Reyes continues stealing, first pick-pocketing then shoplifting, each time denying categorically any injury to her victims: "No delires, Ole. El dueño de eso tiene mil veces más que tú"

Taylor 46

(81); "Que se jodan. Los joyeros son ricos, ¿no?" (101). For the woman, petty theft is not a serious crime since she judges that the victim will not suffer from his losses.

By the end of the play, Reyes evolves into a topless dancer, once more justifying her decision by the high salary of four thousand pesetas per show and by speculating that the opportunity might lead to success in the entertainment industry. William Thompson addresses stripping in his essay "Managing Stigma in a Deviant Occupation." A deviant occupation is defined as any activity which "is considered illegal, immoral or improper"

(Pontell 280). By interviewing women in several strip clubs, he concludes similar to

Matza earlier, that the worker distorts the image of her profession, denying any harm of the activity and emphasizing its positive functions. In his study, Thompson examines the kind of woman attracted to stripping, the reasons which lead her to choose this deviant activity, and the ways by which she copes with the stigma associated with her choice.

Reyes clearly exhibits all these characteristics. As an aspiring rock star, she "has a tendency toward exhibitionistic behavior for gain [and shows] a sudden awareness of the easy economic rewards derived from stripping" (280). "Voy a llevar un vestuario guay en plan lentejuelas y rajas...¡Me tienen que poner una peluca rubia!" (Pedrero 117). "Me han dicho que para empezar cuatro mil diarias. Podríamos dejar la pensión, la calle..."

(118). Reyes accepts "the opportunity structure making stripping an accessible occupational activity" (280), asserting that "Es una sala de fiestas. Va de legal. Sería con contrato y toda..." (118). She minimizes the activity: "Sólo tengo que salir en top- less" (118) and refuses to acknowledge the lack of stability or the dangers present in such a club: "Pues nada, que se ha puesto enferma una chica de la compañía y la han echado,

[es] para sustituirla" (117).

Taylor 47

Olegario: En esos antros tendrás que pasar por todo. No es un sitio

para tí.

Reyes: ¡Son cuatro mil pelas diarias! (118).

Besides the financial aspect, the character converts the activity into a legitimate activity, insisting she will both become independent and have a contract with benefits as well as grow as an artist, entertain, do networking, receive additional offers and even will be capable of supporting the other men.

III. Ritualism

The third type of deviancy in Merton' theory is known as ritualism. Though by far the most common type, the sociologist informs that ritualists go largely unnoticed in society. Perceived by themselves and by others as mainstream, they cling to the prevailing values of the day as well as perform crucial functions for the existing social order. As diligent workers, ritualists commonly hold administrative posts, factory jobs and serve as policemen, office employees or teachers. In essence, the only difference between the ritualist and the conformer derives from the fact that the former no longer aspires success. Having renounced the goal of a better life, the ritualist is content to perpetuate his daily routines indefinitely. "Ritualism involves the abandoning or scaling down of the lofty cultural goals of pecuniary success.... [However] one continues to abide almost compulsively by institutional norms... This is seen as a major departure from the cultural model" (89). Moreover, Merton explains that the ritualist is often at odds with the innovator, his exact opposite. Comfortable in his humble existence, the ritualist fears losing his financial security and falling into a type of lifestyle which necessitates

Taylor 48 innovation. Indeed, the scholar speculates that certain ritualists are former innovators who feel extremely fortunate to have obtained a coveted position not worth risking, but nonetheless hold some latent nostalgia for a freer existence. Consequently, ritualists deal daily with innovators and prove to be their harshest critics. "One device for allaying these anxieties is to lower one's level of aspiration permanently. Fear produces inaction, or more accurately, routinized action" (89).

Ritualists appear quite frequently in Pedrero's works. The playwright commonly depicts them as lost souls, often with skeletons in the cupboard, and in constant fear of any act which might cause a change in lifestyle. Suspicious of others and lacking self- confidence, Pedrero's ritualists systematically avoid situations requiring them to question their routine and self-image or face painful unstated truths. Instead, they resort to role- play to express their inner feelings. The most dejected of her characters, they lack both the financial security of the conformer as well as the adaptability of the innovator.

Carmen in Solos esta noche exemplifies best the ritualist. Pedrero describes her: "Va vestida de forma elegante, pero muy convencional" (Pedrero 177). As a civil servant,

"Jefa de sección del departamento de documentación bibliográfica del Ministerio de

Cultura" (185), the woman leads a highly ritualized life: frequents daily the same restaurants, returns home by taxi, watches television, joins her husband and turns in at identical times. The employee describes her job as "una oficina llena de papeles y corbatas" (185). Carmen arranges her life in so much detail she loses the ability to foresee or deal with any change in schedule. Therefore, when unexpectedly detained late at work and without cash, she cannot cope. Unable to take a cab, the woman must use public transportation yet fails to notice the closing times, and eventually ends up locked

Taylor 49 in the subway with José, a man of "innovative" allure. Panic-stricken and lacking the know-how to face the situation at hand, Carmen immediately imagines the worst case scenario of rape, robbery, and perhaps foul-play. Her discourse abounds in ritualized expressions: "No estoy acostumbrada a estar sola a estas horas" (177), "se está retrasando mucho" (178), "nos han dejado entrar por error" (181), "asi no puede ser"

(182). In fact, the character fears abandoning her schedule much more than the prospect of spending the night in the subway: "Tengo que llegar a mi casa" (182). Further,

Carmen's terror continues long after José proves friendly and endeavors to calm her anxiety. Finally, the woman learns to admire José's adaptability and optimism both in light of the current crisis and in regards to his precarious unstable life. Her initiation of their night of passion gives credence to Merton's assumption that ritualists are secretly drawn to the free spirit and danger of innovators.

La llamada de Lauren

Pedro's story in La llamada de Lauren resembles Carmen's in many respects. The protagonist has two ritualized jobs: "Por la mañana en la oficina. Por la tarde doy clases particulares" (Pedrero 91). His daily agenda shows a formidable program in which the man performs machine-like activities: "Se sienta en la mesa y comienza a sacar libros y papeles" (97), which seems to take a toll both on his physical appearance: "Ayer te miraba mientras dormías y me parecías viejo. De verdad, perdona, Pedro, pero es así.

Me parecías viejo y triste" (89), and his mental outlook: "No sabes lo que es estar aguantando siete horas diarias a los mismos gilipollas... Viendo todos los días los mismos papeles" (98). His ritualism causes problems with his wife, Rosa, who states during their

Taylor 50 role-play: "Me gustas. Es como si te hubieras quitado la careta de auxiliar administrativo.., repulsivo" (86). Pedro takes no pleasure in his marriage, seeing Rosa, just like his job, as an unpleasant routine. The woman's language and mockery show

Pedro normally in a bad mood: "Si es que cuando quieres eres un cielo" (86); aloof:

"Eres una persona solitaria.... Eres como un gato de descampado" (96); exigent: "¡Ay, hijo, qué perfeccionista!"; as well as domineering: "Cariño, haz la cena, que tengo hambre" (86). With little emotion, Pedro processes his marriage like a file. Similar to

Carmen, he finds impromptu conversation daunting, and consequently, avoids discussing marital matters, again especially when they pertain to change: Rosa still has future goals

-- children, a career, and a happier married life. Lavergne Thomas identifies three pathological symptoms of bureaucracy: 1) individual goals and direction lost; 2) rules replace common sense and critical or creative thought; 3) individuals are familiar only with their function (Thomas 151-2). When Rosa speaks of love, Pedro retorts dryly:

"¿Por qué no dejamos ese tema? Vamos a emborracharnos juntos y a bailar" (89); regarding procreation: "No podríamos darle lo que quiero que tenga" (99); and on Rosa finding employment: "No digas tonterías" (99). Outside obeying set rules or fulfilling a function, Pedro refuses categorically to address the couple's problems. Only though elaborate role-play, whereby he becomes Lauren Bacall and obliges Rosa to play

Humphrey Bogart, can the man awkwardly approach difficult issues; however, even in this case, Pedro, the inventor of the ritualistic game, coerces his wife into accepting his set script: Rosa must bind her breasts, wear uncomfortable clothing including moustache and sex-shop phallus, and seduce him in a prescribed set manner. Pedro commands first:

"A mí me parece que sí tiene gracia. Venga" (88); and later: "(Cortándola). Si vas a

Taylor 51

hacer de mí, no jugamos" (91).

Similar to Carmen, Pedro has both a fear and a latent attraction to innovators: "A

mí me gustan los perdedores" (91). Given his penchant for transvestism and possible

homosexuality24, Pedrero creates a vague character who fiercely demands strict adherence

to mainstream values while at the same time yearning to infringe them. Regarding cross-

dressing, Rosa points out the contrast: "Siempre has dicho que los que hacían esto eran

todos maricones" (85). Soon Pedro even contradicts himself: "Mírame bien.... Me gusta

estar así" (97), but remains unwilling to assume the paradox: "Rosa -- ¿Cuéntame qué te

pasa? Pedro -- Es que... yo tampoco lo sé" (94). Reluctantly, the man admits his

suffering at having to maintain the image of a conformer: "Tengo que controlar

continuamente para que no estalle.... Es como si lo que esperaran de ti estuviera en

contradicción con..., o sea, rompiera tu lógica... tu lógica interna." (95). It becomes clear

that Pedro has fought urges to diverge from the norm since his early childhood: "Cuando

era pequeño caminaba con tacones mejor que mi hermana" (95). Pedrero wrote La

llamada de Lauren in the early 1980's, at which time she described Pedro as a man in his

early thirties; hence, the reader/spectator readily recognizes that the protagonist grew up

in 1950's Spain, an era when alternative ideas, at best, were socially unacceptable.

"Quiero decir que uno tiene sensaciones o necesidades inadmisibles" (95). Certainly, the

pressure to embrace that epoch's mainstream ideas would have been much greater than

24 Critics debate whether or not homosexuality is a key issue in La llamada de Lauren. Some critics believe he is clearly gay (Patricia O'Connor in "Women Playwrights" (389) and Francisco Alvaro in "El espectador y la crítica") , others he is a transvestite (Peter Podol in "Sexuality and Marital Relationships"), while Phyllis Zatlin affirms his sexuality to be ambiguous. Pedro himself denies it, and Pedrero admits he could be bisexual (Berardini 26). I choose not to study the matter since my key concern is Pedro's conflict between strict conformity to cultural norms as a ritualist and a latent desire to diverge from these values. The mere fact he cross-dresses in the play illustrates my point. In addition, since Pedro has no set goal, he does not articulate any desire to venture beyond his role-play with Rosa.

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today. Even though the character correctly perceives the social reality of 1985 Madrid as

radically different, he cannot shake off the effects of his rigid socialization. In truth,

Pedro reveals to Rosa his pain at conforming to machismo:

Cuando era pequeño todos los niños jugaban a pelearse los de una calle

contra otra... No puedes imaginar el miedo que llevaba, ¡el pánico! Para

vencerlo gritaba y me reía más que ninguno. Siempre me ponía en primera

línea, frente al bando enemigo, y desafiaba las piedras. Entonces sentía como

crecía ante los demás... Buscaba sus miradas que me decían: ¡Eres un

valiente! ¡Un machote! (96)

Pascal Duret, Les jeunes et l'identité masculine (1999), asked a sample of 412 French

youths to identify qualities they normally associate with manliness in order to gain

insight into current cultural ideas surrounding machismo.

Tableau 3. -- Le charactère viril vu par les filles et les garçons25

Les traits Les traits de caractères de charactères associés Nombre associé Nombre par les garçons d'occurences par les filles d'occurences à la virilite à la virilité

25 Table 3.-- Manly character as seen by girls and boys/ The character traits boys associate with manliness/ Number of occurrences/ The character traits girls associate with manliness/ Number of occurrences/ Boy's category (courageous, defender, proud (honor), authoritarian (assertive), morally strong and resistant, loyal, limited intellectually, macho, vain and boastful, demonstrative) / Girl's category (protective, self- confident, domineering, lack of understanding, macho, morally strong and resistant, immature, selfish, quick-tempered, aggressive, brutal, inflexible, rigid)

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______

Courageux 309 Protecteur 241 Défenseur 268 Confiant en lui 212 Fier (honneur) 254 Dominateur 207 Autoritaire (se fait 238 Manque de 188 respecter) compréhension Fort et résistant 172 Macho 152 moralement Loyal 147 Fort et résistant 143

moralement Limité au niveau 106 Immature 126 intellectuel Macho 97 Egoïste 82 Vaniteux et 96 Coléreux, 63 vantard aggressif, brutal Démonstratif 71 Inflexible, rigide 58

The macho traits mentioned by the boys in Duret's study closely parallel those present in

Pedro's code of conduct. Indeed, the protagonist takes pride in his machismo: "Desde ese día me prometí a mí mismo demostrar que yo era más hombre que nadie. ¡No podía fallar! ¿Entiendes? Tenía que hacer lo que esperaban de mí. Y me he pasado la vida así" (96). In addition, as previously noted, Rosa clearly bemoans the same negative macho characteristics alluded to by the French girls. In spite of this fact, perhaps due to her own socialization, a second contrast becomes apparent since the character still

Taylor 54

expects her husband to adhere to many of the positive manly traits: "¡Quítate esa mierda!

¡Pareces un maricón! ¡Maricón!" (97); "¿De verdad quieres que sea tu reina?" (99); "Yo

quiero que seas como eres. No quiero que seas otra cosa" (99). Ironically, Rosa puts an end to the role-play which had started to generate the intimate connection she longs for:

"Si yo quería hablar, si yo... lo necesitaba. Para una vez que te pones a contarme cosas reacciono como una histérica" (98). Nevertheless, Pedro reverts back into his ritualist mask. Rosa's negative reaction to his confessions reaffirms his belief that he needs to obey unflinchingly the rules of machismo. "Hoy no te he dado lo que querías y entonces tú has hecho lo mismo que hacía mi padre: me has dado una hostia" (96). He immediately asserts that the role-play was of no importance: "No tiene importancia.....

No pasa nada, ha sido un mal momento" (98); "Se trataba de jugar a encontrar cosas nuevas, ¿entiendes? A dejarnos llevar por las situaciones" (99). One may speculate that

Pedro will likely return to his routine in the future; he still fears abandoning both his ritual and his macho values. However, Pedro's decision to leave Rosa and celebrate carnival alone dressed as Lauren does cast some doubt on the couple's future.

Contemporary Spain is no longer the conservative nation of the past. Pedrero's bold attempt to address cross-dressing and alternative sexual practices bears witness to a changed society in which such subjects are no longer taboo. Pedro's desire to express his inner desires may have repercussions in that he already feels free enough to buy women's clothing and enter sex-shops. Howard S. Becker demonstrates that society checks deviant behavior by stigmatizing an individual whenever he breaks a norm. Hence, if

1980's Spain does not brand Pedro as a deviant for cross-dressing, he may eventually lose his inhibitions and continue to explore his sexuality, perhaps to the detriment of his

Taylor 55 marriage.

IV. Retreatism

Merton characterizes the fourth group of marginalized people as "True aliens; people in society but not of it: psychotics, autists, pariahs, outcasts, vagrants, vagabonds, tramps, chronic drunkards, gamblers and drug addicts" (91). Retreatists no longer aspire to any of the ascribed cultural goals and fail to participate in society at any capacity.

Highly stigmatized, "they are relentlessly pursued [by everybody since they] put into question the legitimacy of the entire social order" (91). The term "retreatist" has a dual significance: These individuals maintain no connection whatsoever (be it conforming, innovating, ritualizing or rebelling) with their surrounding world; likewise, they develop escape mechanisms to create an alternative reality which eventually supplants the society they have abandoned. Merton deems retreatism to be the final stage in the same marginalization process that created both innovators and ritualists: "From the standpoint of its sources on the social structure, this mode of adaption is most likely to occur when both the cultural goals and the institutional practices have been thoroughly assimilated by the individual and imbued with affect and high value, but accessible institutionalized avenues are not productive of success" (91). One infers that the retreatist experienced a normal initiation into society but subsequently encounters the same obstacles as the innovator. "[However for the retreatist] there results a twofold conflict: the interiorized moral obligation for adopting institutional means conflicts with the pressures to resort to illicit means (which may attain the goal). [Therefore] the individual is shut off from means which are both legitimate and effective" (91). Here, a parallel may be drawn with

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the ritualist who also avoids the innovative lifestyle because of moral conviction.

Conversely, whether unable or unwilling, retreatists reject strict routine without reward.

"The competitive order is maintained for a time but the frustrated or handicapped

individual who cannot cope with this order drops out" (92). Both failure and a deviant

existence take a heavy toll on retreatists who opt for withdrawal as the last resort. "The

conflict is resolved by abandoning both precipitating elements, the goal and the means"

(92).

Una estrella

Una estrella deals with the story of a daughter, Estrella, who ventures into the underworld in search of memories of her deceased father, Rafael Torres; above all, his possible motives for abandoning the family many years prior to his death. Eventually, the successful writer comes into contact with Juan Domínguez, a friend of Rafael, with

whom he shared several years of friendship and debauchery (alcoholism, gambling and

womanizing). Given that the two men's respective stories match, the sixty-five year old

drunkard soon comes to personify Estrella’s father as well as embody the characteristics

of the retreatist: 1) escapism through substance abuse to avoid stigmatism and 2) gradual

withdrawal from society.

Juan Domínguez, by the time Estrella meets him, has sunk into a quasi permanent

inebriated state. Alcohol shields his self-esteem from the relentless attacks by others, and

helps to kill time, overlook failures and forget solitude. Alfred R. Lindesmith points to

this double role of alcohol for the retreatist: the substance has "euphoric producing

effects", dulls sensitivity, but soon "becomes an ends not a means" (Clinard 183).

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Pedrero states: (Juan Domínguez está borracho y, sin embargo, consigue casi dominar

la torpeza. Tiene el estado del ebrio crónico y orgullosamente digno)" (243). As Merton

suggests, all characters hold contempt for Domínguez and seek to distance themselves

from him: i.e. first dialogue with the barman: "Ponme una copa. (El Camerero duda.

Juan le enseña un billete. El Camarero, de mala gana, le sirve un trago.)" (245).

Immediately afterwards, the waiter asks Juan to leave: "No me gusta que vengas por

aquí.... Tómate la copa y lárgate.... Lárgate sin tomártela. Vamos, a la calle" (245).

Despite objections: "Trátame con respeto que yo podría ser tu padre.... Llevo treinta años

viniendo aquí" (246), the barman grabs the drunkard violently and drags him to the door.

Although Estrella, scandalized by the aggression, intervenes on behalf of Domínguez, the

woman clearly feels a similar repulsion to the man's presence: "¿Quiere dejarme en

paz?... Apesta a alcohol.... No me gusta que me toquen los borrachos, ¿sabe? Mean y

después se quitan las babas de la cara sin lavarse las manos" (245). Moreover, the other

marginalized characters scorn Juan as well since they repeatedly deny him access to the

backroom and refuse his involvement in their poker games. Ironically, money emerges

as a bargaining chip for the impoverished character since the gamblers tolerate his

presence only when he has pesetas. At the beginning of the month, Domínguez receives

a meager pension which draws the attention of the unfortunate gamblers needing loans/

gifts to continue in the game: "¿Así que tú también sabes cuando cobra la pensión?"

(267); "Lo necesito, Juan. ¡Me cago en Dios! ¡Tiene que cambiarme la suerte!....

Déjame diez y juegas la última. Pastor está asfixiado, en un rato se abre. Préstame para

recuperarme y juegas la última. Te doy mi palabra" (261). Thus, until the source dries

up, Juan manages to find his place in the underworld as well as buy alcohol and

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cigarettes for himself and the others. In Estrella's case, the man negotiates

companionship by providing information about Rafael Torres. Despite the fact that the

man remains indifferent to all personal attacks and insults, the young woman's derogatory

remarks concerning her father finally upset Domínguez to the point he decides to leave:

"(Muy afectado.) No tienes derecho a hablar así de un pobre hombre....Vosotros no

sabéis lo que es sufrir. No sabes lo que es ser un hombre.... (Se calla en seco.) Me voy"

(250-1); Estella then accepts Juan's conversation on his own terms and pleads for him to stay: "Quédate" (251). Later, Domínguez will ask Estrella to play the role of his daughter in front of the other men, once more in hopes of redeeming himself in the bar:

Juan -- ¿Qué te importa por una noche? Será un momento. ¿Has visto lo

impresionado que se ha quedado Ramón? Si te conocieran

volverían a respetarme. ¡Se darían cuenta de que no soy un

desgraciado, de que yo también tengo una familia...!

Estrella -- Sería otra de tus mentiras. Enseñarías a una hija que no es tu hija,

que no te quiere.

Juan -- No importa, mi hija tampoco me quiere. (262)

Lying, linked to alcohol, proves to be the second recurrent mechanism used by Juan to flee reality. Besides pretending to be Estrella's father, he lies about reading her books and creates fantasies regarding his past: for example, regarding the origins of his scar, the man alleges first that his father battered him, next that he was injured in the Spanish

Civil War, and finally that a donkey kicked him:

Mi padre me pegaba con el cinto y los puños... a los doce años me trajo a

Madrid y me dejó tirado... con la cabeza... Mira. (Se retira el pelo y muestra

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a Estrella una enorme cicatriz.)

La cabeza rota de arriba a abajo.

Me mandó a la guerra. Yo no quería ir, era un niño todavía...

Creo que nadie daba un duro por mí, me dejó en un catre solo, inconsciente.

Yo, yo iba a la vanguardia del batallón. Los tanques enemigos se acercaban

hacia nosotros... A lo lejos se escuchaba el ruido de la artillería...

Me coceó un burro, en mi pueblo. (264)

Changing his story consistently, Juan tells untruths and exaggerates facts to justify both his failures and his alcoholism. Indeed, Pedrero casts doubt on almost all the information he supplies Estrella. Quite realistically, he might even invent the stories concerning her father.

Estrella -- (interrumpiéndole.) Estás mintiendo.

Juan -- ¿Sí, verdad?

Estrella -- ¿Por qué? ¿Por qué mientes siempre?

Juan -- No me doy cuenta. (Pausa.) La cabeza.

A vicious cycle, thus, appears in Domínguez's delirium: the fantasy world, triggered by

alcohol and lying, ends up totally distorting or replacing reality. Eventually, not even

Domínguez knows his truth: What is the root of his problems? Alcohol, lies, gambling,

memory gaps, evasion... appear equally as causes and effects, means and ends. Juan

summarizes: "El tabaco, el alcohol y el tiempo ensucian... por dentro y por fuera. No se

quita" (266); "Soy un tarado mental... que se ha pasado la vida perdido en... un sitio

muy pequeño" (270).

Unsurprisingly, the dialogue between Estrella and Juan proves also enigmatic. In

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addition to lies, the lives (jobs, families, adventures, attitudes) of Juan Domínguez and

Rafael Torres become so intertwined that it becomes daunting for the reader/spectator to

discern which anecdotes pertain to which man. Indeed, at many points in the play,

Estrella seems magically transformed into Juan's daughter Marta with Juan equally

assuming Rafael Torres's personality. The phenomenon is clearly seen in the language

they use with one another:

Estrella -- Quiero que me acaricies. Acaríciame.

¿Que sientes, papá?

Juan -- Me siento... persona. (270)

Estrella -- Papá, te quiero.

Juan -- Ya lo sé, tonta. Ya lo sé. (273)

With the additional information revealed about Ramón and other characters in the bar, the Juan/Rafael protagonist widens to become Pedrero's archetype for a certain type of

Spanish retreatist. Further, in her dedication the playwright admits the autobiographical aspect of this play: "A Félix Pedrero, cómo no, al que conocí escribiendo «Una estrella» mientras él me dictaba desde una estrella" (235). In such a manner, the dialogue cited

below could apply equally to any man (Juan, Rafael, Ramón, Félix et al). Estrella

provides a vision of the retreatist from the perspective of a bitter daughter witnessing the

withdrawal from afar:

Estrella cannot remember a time when her father stayed sober:

¿Eso se lo decía cuando estaba sobrio o cuando estaba borracho?

Claro. No había diferencia. (248)

Os lo bebiáis en compañía de unas cuantas putas. (249)

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The woman paints a portrait of a cowardly man who gradually abandons his family to

avoid critique and important daily responsibilities:

Torres, como tú dices, nunca me tocó. Ni para pegarme, ni para acariciarme,

ni para ponerme los guantes en invierno. Torres sólo sabía tocar las cartas,

los billetes y las copas. Tu amigo Torres era un auténtico desastre. (249)

Era un fantasma, un cobarde, un mal marido. Un degenerado que fabricaba

hijos con espermatozoides borrachos... (250)

Cuando mi padre no quería oír las verdades... se iba. (251)

Nunca estuve con mi padre. No recuerdo nada de él. Regresaba a casa

cuando yo dormía y se iba cuando yo dormía. (253)

She hints that her father became so dependent on ephemeral highs from gambling and drunkenness that he failed to react even in the face of real danger to his family:

O sea, que no podía dejar a esos... indecentes perdiendo dinero y podía dejar

a su mujer y a su hija volver a las tantas de la noche, a casa, solas. Su mujer

y él... ¡Qué canalla! (255)

Veo esa máscara sucia irreal y... ¡me duele tanto! (262)

Domínguez, speaking intermittently about his own life and about that of Torres, retorts

Estrella's remarks point by point and supplies an inside account of the lifelong suffering of a Pedrero retreatist. First of all, Juan turns the tables by alleging not only that his marginalized existence has social merit but even judges those who reject alcohol out right and desert friends once a card game has commenced. In effect, the retreatist gives greater importance to his escape than to his family:

Torres era muy bueno. (250)

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No beber alcohol nunca no es.. bueno. (252)

Iba ganando mucho dinero. No podía cortar la partida. No es legal. Tu

padre era un gran jugador. (255)

Goffman in his study "wise people" discusses the effect drop-outs have on their love

ones: "the tendency for a stigma to spread from the stigmatized individual to his close

connections provides a reason why such relations tend to be avoided or to be terminated

where existing" (Pontell 68). The retreatist inevitably enters into conflict with his family

who must intervene to save itself from the dangers that deviancy poses. Once more, Juan

Domínguez feels he has done no wrong. Indeed he projects blame onto his wife and children to justify his abandonment:

[Mi mujer] tenía una enfermedad llamada Juan Domínguez. Es una especie

de virus que va matando poco a poco. La última fase es la del odio, y el

odio... conduce a la muerte. Fue una muerte lenta. Duró treinta años. (260)

A veces nos queríamos y hacíamos el amor. Tuvimos dos hijos y no vienen

nunca a verme. Están enfermos... Ella... Ella les transmitió la enfermedad de

Juan Domínguez. (260)

Judah Matras adds that divorce, estrangement and one-parent families tend to be the norm among marginalized people given that "An absence of future orientation" combined with "inadequate resources makes for insurmountable conflict, tension and instability" (Matras, 68). Even though this sociologist asserts that more frequently the spouse and offspring desert the outcast, Pedrero's scheme inevitably shows the retreatist walking away. Juan contends that his wife chased him from the home because of repeated mental abuse and unreasonable demands.

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Yo no era así. No creas que era así antes. Yo fui joven y muy atractivo... Yo

fui un hombre con futuro. También fui inteligente. Empecé tirando de una

carretilla y acabé siendo un gran contable. (262)

Dejé de ascender en la empresa, debió ser que se me fueron las luces. La

cabeza rota, los plomos fundidos. (263)

No ganaba lo suficiente para todos sus caprichos. Ella me lo reprochaba, me

echaba broncas por todo. Y me quitó su pecho. Hablaba y hablaba y yo...

callado. Parado ante la diosa, ante la víctima. Abrir la jaula por la noche era

como entrar en la jaula de la fiera.... Si supieras el miedo que me daba. (263)

Juan surmises that the root of his retreatism lies in his inability to succeed as an accountant. Despite apparent competence and tenacity, the man reached an impasse in his career. In addition, the man contends that his wife, eager to benefit from the promised material advantages of such a profession, took out her frustrations on Juan,

which contributed partly to his fall into retreatism. Making an analogy with Torres,

Domínguez explains that his wife wielded influence on his children so that eventually

they too came to loathe their father for his shortcomings:

Yo he visto a tu padre llorar... porque, Estrellita, su hija, le había llamado

cabrón. (Estrella se lleva las manos al vientre como si hubiera recibido un

impacto). (271)

The outcast situates Estrella at the end of a long process of mistreatment whose origin stems from his impossibility to reach society's common goal by means of the accepted avenues. Branded doubly as a failure at work and at home, Juan feels he had no choice but to withdraw into a deviant lifestyle:

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Tu padre quiso triunfar pero sabía que era imposible, desde muy pronto le fue

imposible. Luego se quedó sin tiempo, el hígado le traicionó. Siguió

bebiendo porque sin hígado y sin triunfo se pierde toda la voluntad... (271)

Berardini sees Una estrella as psychotherapy for a daughter who needs to confront her past to resolve present problems.26 Indeed, Estrella admits that her fatherless childhood

has contributed to a string of relationship failures with men: "Nunca he sabido qué hacer

con un señor en casa" (257). Juan enables the young novelist to gain insight into her

father's suffering and accept a plausible rationale for his retreat into the casino. Estella's

exit from the bar proves paramount for both characters. When the woman

(Estrella/Marta/Pedrero) states: "te perdono" (270) and "te quiero (273), she

acknowledges a greater understanding of her father's plight and the beginning of a

healing process. Estrella has confronted her past and benefits from the greater self-

awareness preached in Gestalt therapy.27

V. Rebellion/ Ressentiment

Rebels differ significantly from the other categories of alienated people studied in this chapter. Whereas innovators, ritualists and retreatists simply react to the conflict of

"goal" and "ways, rebels opt consciously not to participate in society. Merton states:

"Rebellion involves a genuine rejection of the social order" (94) and discerns two types of dissension: ressentiment and true rebellion. "In ressentiment, one condemns what

26 Berardini shows that the dialogue between Estella and Juan/Rafael resembles closely a session of psychotherapy in which a psychiatrist encourages a patient to confront painful childhood memories in order to identify the residual effects these may have in the current behavior of the patient. In this type of therapy, role-play is frequent. The goal is for the patient to gain a global understanding of the situation and reach a moment of catharsis in which he/she overcomes past crises (Berardini 91-9) 27 See the section on Gestalt therapy adressed in Chapter 2.

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one secretly craves; in [true] rebellion, one condemns the craving itself" (94).

Henceforth, I will refer to the first group as "rebels without a cause" and the second as

"true rebels."

Merton stipulates that the true rebel has a vision to transform society by replacing it

altogether with a new alternative structure: "Rebellion involves a genuine

transvaluation" (94). In the case of ressentiment, the individual feels both embittered and

distressed towards his/her society, and the rebellion rests largely symbolic.28 Since

Pedrero's work lacks a specific didactic message and only hints implicitly at changing the

social structure, visionaries are noticeably absent from her plays. Instead, the playwright

creates a type of passive rebel who seems content to oppose the prevailing values of

his/her immediate circle yet never envisions any real alternative. In essence, Pedrero's

rebels mix the characteristics of the "true rebel" and the "rebel without a cause." Their

cause remains personal: to survive in spite of rejecting all rules as well as to create an

environment where this behavior is acceptable. However, they never fully abandon

secret "craves" to revamp or refashion certain aspects of their entourage. Moreover,

ressentiment enters into the make-up of the Pedrero character, but never develops into his

raison d'être. Finally, these protagonists choose rebellion at a very young age.

Besos de lobo

Besos de lobo is Pedrero's first play (1982) and the only work cast in a rural

28 The French verb ressentir has a number of meanings (all concentrated into Merton's concept of ressentiment): to resent or begrudge; to ache, hurt or experience pain; to feel an emotion; to endure, agonize or suffer; to think or deem strongly; to hold in contempt. The concept is probably close to the nineteeth-century poet's spleen .

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setting, the fictitious Castilian town of Jara in the early seventies. In addition, the work

also diverges from the bulk of the author's work in its length (seven full scenes) and in

the fact that the action takes place over an extended period of time (15-20 years). The

opening scene shows the eighteen-year-old Ana returning to Jara after a three year stay in

the capital where she worked/studied in a Catholic school for girls.29 Although originally

planned as a short convalescent period (13), the girl retreats permanently into her

girlhood home until the final scene when she departs once more by train to an unknown

destination. In truth, Pedrero presents the entire play as a struggle between Ana and Jara,

typified by the father (Agustín), the suitor (Camilo), the friend (Luciano) as well as by

two female characters absent from the dialogue, the woman's aunt/ step-mother (Paulina)

and La Venancia (Luciano's mother). Virtudes Serrano characterizes the town as

"contaminado por la pobreza de espíritu, la rigidez de sus costumbres y creencias, y el

miedo a la maledicencia" (Pedrero 52). The Spanish theater critic affirms that Jara

becomes Pedrero's version of a well-established literary setting: Galdós' Orbajosa,

Clarín's Vetusta and Benavente's La Moraleda (52). Ana states: "Estamos en Jara, y aquí

ser distinto es lo mismo que estar loco o ser tonto" (32). Most of the inhabitants resign

themselves to the repressive social structure and end up as retreatists (similar to Juan

Domínguez): The townsmen including Agustín are heavy drinkers and congregate daily

at Jara's bar to play cards and/or fight. Agustín summaries well the village atmosphere:

29 Pedrero does not develop fully Ana's experience in Madrid nor the real reasons for her return to Jara. Village gossip indicates that she may very well have been the nun's maid and not a student. In addition, whereas Ana reveals she became ill with a mysterious lung/bronchial problem, perhaps even tuberculosis (Berardini 39) from which she never really recovered during her long stay in the village, her father believes she became pregnant, was consequently expelled from the school, and her illness, if any, was the end result of the pregnancy.... miscarriage, abortion? Was the father her partly imaginary boyfriend Raúl? The woman states he is indebted to her.... why? At any rate, Ana characterizes her stay in the capital as traumatic (Pedrero, 21).

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"Nada, nunca pasa nada. Uno se cree que la vida enseña algo, y ya, ya... Nacemos

gilipollas y morimos gilipollas" (24). Ana repudiates her town completely but clearly

prefers self-imposed house arrest to another experience in Madrid: "Usted no lo puede

comprender, pero aquello es un infierno" (21). Nevertheless, the city significantly

modified the character's outlook on life: she holds liberal views on masturbation (18)

and homosexuality (40), as well as demonstrates intelligence (33) and maturity (27)

together with a cosmopolitan flair (16). In addition, Ana rejects outright Jara's

expectations for women: the goal of financial stability either by means of marriage or

domestic service in the capital. Agustín desperately endeavors to coerce Ana into

accepting one of theses solutions.

The first solution looks like the most obvious since her suitor, Camilo, as a

RENFE agent holds a privileged status with a steady income:

Me estoy constuyendo una casita cerca de la estación. Así no tengo que

coger el coche todos los días... Es pequeña, pero acogedora. Tengo un

poquito de tierra y un cuarto grande para trabajar la madera. (23-4)

In addition, Camilo loves Ana and rejects matrimony with anyone else. Also, there exists ample evidence that the protagonist may retain unresolved feelings for her childhood sweetheart: "Hace muchos años, en la estación de San Pascual, una niña se fue del pueblo y lo último que hizo fue dar un beso al mozo de estación. ¿Por qué?" (28). When Camilo visits, Ana pays careful attention to her physical appearance: "Te has puesto carmín en los labios... color en los párpados... perfume en el pelo" (28). Ana, inevitably, discards marriage to Camilo since such an arrangement would entail abandoning her rebellion, accepting a conventional lifestyle and becoming a full-fledged citizen of Jara. Indeed,

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Camilo forms an integral part of the town symbolizing hypocrisy, vice as well as obtuse routine:

Ana -- No soporto que me toques. Ay, Dios mío... Las manos, los besos, los

cuerpos, al final es lo único.

Camilo -- Para mí no es lo único. Eso lo tengo cuando quiero. (28)

In his study on American alienated youth, Kennith Keniston comments on the rebel: "on every level, then, the alienated refuse conventional commitments, seeing them as unprofitable, dangerous, futile or merely uncertain and unpredictable" (60). Despite her attraction to Camilo, Ana's rebellion expands to the point of rejecting all forms of intimacy which she views as banal, corrupt and ritualistic.

Ana equally casts off the second option since returning to Madrid is out of the question.

On moving back to the city as a maid:

Agustín -- Don Miguel necesita una doncella y ha dicho que te admitiría en

su casa.

Ana -- Pero, padre, yo no me puedo ir de aquí. Estoy esperando a mi

novio. Aquí es donde me cree y donde me tiene. Pero... ¡No

puedo ir a la capital! ¡Me pondría enferma como la otra vez! El

médico me recomendó el campo. En la ciudad podría morirme.

¡Ay, que me mareo! (Tose)

Agustín -- No es de criada, es de doncella, con guantes blancos y todo.

Podrías enderezar tu vida. ¡No puedes continuar así! (20)

The protagonist consistently employs two techniques to rationalize her continued

Taylor 69 presence at home: 1) the expected arrival of her French fiancé to whisk her away to

Paris; 2) a prolonged suffering due to her (imaginary?) pulmonary disease. In the last example, Ana seems adept at melodrama: "¡Agua...! ¡Agua...! Me están subiendo las fiebres. Me mareo. Voy a desmayarme.... ¡Ay, que se me va la vista!" (20). Proving effective at first, the excuses become increasingly more absurd as the years pass and provoke indignation both from her frustrated father: "¿Por qué me ha tenido que salir una hija así, a mí? ¡Dios mío, no vives en la tierra! Se te está hundiendo la barca....

Mírate al espejo, ya no eres una niña. Dentro de poco ya nadie va a querer cargar contigo" (37) as well as from the town residents who brand her as a witch. Luciano attests: "Tú eres un poco bruja" (31); "No, el mal de ojo, no" (47); "¡Estás mal de la cabeza!" (47). Ana even admits: "Sé que la gente del pueblo me llama la venada..." (27).

Ressentiment definitely characterizes Ana's character. Besides painful memories of her adolescent trauma in the capital, Ana holds a double grudge against her father and aunt. After her mother took ill, Agustín secretly began a liaison with his wife's sister

(Paulina) which eventually ends in a remarriage between Scene 3 and Scene 4.

Consequently, Ana strongly blames both for her mother's death. Further, subsequent to the woman’s funeral, the couple agreed to send the teenager away to the Catholic school in Madrid. Ana believes, with ample evidence, that Paulina removed her from the household to erase all trace of her mother and form a new family with Agustín. Indeed, revenge proves key in the development of Ana's rebellion since her mere presence at home wrecks havoc. Moreover, Ana's refusal to comply to norms becomes not only a rejection of Jara, where such a story is condoned, but also a concerted attempt to render justice and undermine the new relationship. "Rebellion is in most ways psychological

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easier than vision, for the rebel is clearly defined as a person by that which he opposes

and by that in whose name he rebels" (229). Ana's retribution proves harsh and effective

as conjugal discord ensues:

Luciano describes the bitter arguments between Agustín and Paulina:

Ayer en casa de la Paulina había bronca. Me quedé en el portal escuchando.

Ella decía a cuento de qué volvía ahora. Y el Agustín la contestaba que a fin

del caso la Ana era su hija, y más de ley que ella. Mi madre dice cuando el

Agustín enviudó la mandó a las monjas para no tener problemas con... el lío,

¿entiendes? (12).

Throughout the play, Ana encourages the ever more frequent quarrels:

Agustín -- ¿Si te quedas, querrás a tu tía?

Ana -- Eso no... Esa mujer es la que le ha envenenado.

Agustín -- ¡Es la hermana de tu difunta madre!

Ana -- Es una sombra negra que nos separa.

Agustín -- Me ha dado un ultimátum: o tú o ella. (21)

The protagonist's determination prevails over her aunt's given that Agustín feels remorse

for his adultery and accountable for his daughter's ordeal in Madrid.

Ana -- Una noche, madre estaba gritando de dolores y nadie la

contestaba. Me levanté y fui a buscarlo.... Y ahí estaba usted

con ésa... Les vi cómo se movían y jadeaban. Hasta muchos

años después no supe lo que hacían. Pero esa noche sentí lo que

era la desolación y la muerte.

Agustín -- (Bebiendo nervioso) Eso fue un mal sueño.

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Ana -- Fue adulterio. Y eso está penado por la ley. Y muy pronto

madre murió.... Sabía ella que usted la engañaba.

Agustín -- (Dando golpes en la mesa) ¡No! ¡No! ¡No!

Ana -- ¿Me está reconociendo que la engañaba?....

Agustín -- ¡Y yo soy un hombre, joder, no un santo!.... (Bebe)

Ana -- Sí, yo me iré a trabajar de criada. Así ustedes volverán a

sentirse libres.... Cásese y viva feliz... Cuando venga Raúl

dígale que yo le fui fiel.... Que me quitara del medio otra vez no

lo había presentido....

Agustín -- Ana, si quieres quedarte en el pueblo..., te quedarás.... (Bebe

desesperado.) (21-3)

Ana clearly takes pleasure in humiliating her father. Moreover, her attacks succeed in sabotaging his marriage and push him to accept her rebellion. The burden of guilt along with the stigma attached to being Ana's father have far reaching effects. Indeed, Agustín eventually becomes depressive, turns into a heavy drinker and dies young. The man blames Ana: "¡Me martirizas! ¡Me martirizas! ¿Por qué me habrá dado Dios este castigo?" (38). In regards to her aunt, the protagonist's vengeance proves even more cruel. Given that the protagonist monopolizes all dialogue and never leaves home,

Paulina's absence reveals that Ana both shuns and chases away the enemy. Besides shopping and preparing meals, the aunt does not even have dinner with Agustín and Ana

(36). Her dreams of a happy marriage to Agustín are thwarted. Ana's ultimate reprisal against Paulina occurs after Agustín's death since the man bequeaths all his money to his daughter: "Quiero que mi dinero sea para tí" (38).

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The true rebel "possesses a new myth" and "is a charter for action" (94).

Although Ana never develops any vision for Jara except revenge, the character does

fashion her own idealized reality within the confines of her father's home: i.e. she

devours romance novels; writes herself similar love letters and poetry; as well as

conceives a fantasyland complete with the prince whom she makes Luciano play30; later

the woman also takes on roles such as fortune teller or witch and both characters sing,

dance, play the flute...etc. (30-7).31 In addition, she prompts her disciple, Luciano, to rebel against the establishment. At the beginning of the play, the closeted homosexual passes himself off as the village idiot to avoid work as well as to justify his lack of interest in women. Luciano admits: "Pero yo, de tonto, nada, lo que pasa es que a veces me lo hago" (32). Edward Sagarin believes that "involuntary deviants" (i.e. homosexuals...) often play dumb since society "demeans" fools but does not necessarily

"condemn nor exclude" them (Goode 316). Luciano, though widely considered daft, is well liked in Jara. Roaming freely around town, he knows everybody and performs several key tasks such as errand boy and gossip spreader. The character seems satisfied to flirt innocently with Camilo (12), fantasize over body builders in calendars (31), have sexual encounters with rams... (18). Ana comes to wield great influence over Luciano: the protagonist helps him assume his orientation and eventually come out to his parents:

Luciano -- Tú me has dicho que en la capital hay bastantes [homosexuales]

30 In the play Raúl is the real boyfriend she met in Madrid who arrives in Jara at the end of the play. However, Ana´s fictionalized Raúl is French and has all the qualities of a prince charming. 31 Berardini believes that the Ana and Luciano's secret afternoon meetings take on the qualities of a magical ritual: darkness, candles, long capes, feather hats, chants, trances. Ana transforms her romance novels into reality (Raúl drives a Jaguar, comes from Paris, offers white roses, stylish Parisian clothes) and both characters have the opportunity to realize their romantic/sexual fantasies by playing Raúl/Camilo and touch each other (34-7).

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y en París muchísimos más, o sea que no soy tan raro....

De todas formas, a mí me gustaría ser normal como todos.

Ana -- ¿Para qué? Normal, ¿para qué?

Calla. No se puede desear lo que se han inventado los otros

para sentirse listos, dueños, poderosos. Todo eso no vale nada.

(32)

Ana sows the seeds of rebellion in her friend which inevitably undermine his respectability in the town. For example, the man's mother reacts violently, beats her son frequently and plans to impose a marriage to La Tomasa, a retarded woman. Even so,

Ana convinces Luciano to defy La Venancia:

Ana -- Imponte, Luciano. Tienes tus razones. ¿Qué importa una zurra?

Duelen más otras cosas.

Luciano -- Tienes razón. Sí, tiene que comprender mi verdad. Ahora me

explico bien, ¿verdad, Ana?. Tengo muchas más palabras. (42)

For a time, Luciano continues his secret visits to his mentor and follows her advice; however, the weak man soon acquiesces to the insurmountable pressure to conform.

Indeed, Jara eventually pardons Luciano provided that he too shun Ana.32 Nevertheless,

Pedrero gives indication that the man's character has evolved significantly: his jovial character has disappeared; he strongly resents his upcoming marriage and his unrequited love for Camilo:

Luciano -- (Camilo) No entiendes una broma o qué. No me gusta que se

32 The town views the affair as malicious manipulation of a simpleton by a witch. "Te echan a ti la culpa. Dicen que me estás trastornando" (40). A year later when Luciano pays his condolences to Ana upon her father's death, he condemns her rebellion: "Estás mal de la cabeza;" "¡el mal de ojo, no!" (47)

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rían de mí.

Si te molesto, me voy.

Que me gustaría matarte a golpes.

Eres un cabrón. (49)

Besos de lobos' ending proves enigmatic for the reader/spectator. Ana suddenly packs her bags, goes to the station and departs on the first train available. Before leaving, she declares her love for Camilo and promises him a shared future but only if he accompanies her on that same train. After her father's death, Ana's world crumbles. The source of her ressentiment disappears and her rebellion becomes irrelevant. The protagonist must make a choice between suicide and living elsewhere because the status quo cannot persist. In scene 6, the woman attempts the first option but fails since she is unable to persuade Luciano to slash her veins with Camilo's pocketknife (47).

Consequently, Ana has no choice but to flee. Whereas Virtudes Serrano sees the ending as hopeful: "Ana toma el tren que representa la libertad y la vida" (52), I believe that

Ana must leave because there is no one else to provide for her needs or serve as a shield against Jara's aggression. Indeed, at the wake her monologue to her father proves revealing: "Sé que se ha muerto para vengarse de mí. Me ha traicionado castigándome con su silencio y abandono. Padre, ¿hay alguna posibilidad todavía?... ¡Abra el otro ojo!

Hágalo por mí, se lo suplico" (43). The protagonist's world vision remains unchanged.

Consequently, Ana receives word that Raúl is finally coming for her, but prefers to leave before he arrives: the man is neither French nor princely; indeed he made her pregnant and abandoned her. Camilo, also, must enter into her fantasy to become worthy of her: unexpected revelations, kisses on the platform, elopement to some beautiful place with a

Taylor 75 sea are crucial ingredients in Ana's fantasy.

Cachorros de negro mirar

Cachorros de negro mirar, one of Pedrero's most recent plays (1999), deals with the blind rebellion of two teenage boys, Cachorro (Pablo) and Surcos (Pedro), who fervently oppose the values of Contemporary Spain, as epitomized by their parents.

Many common threads link this play to Besos de lobo (i.e. the mixture of true rebellion with ressentiment, the appearance of a second reality, the desire for vengeance...) with one key difference, Cachorro and Surcos lack a traumatic childhood experience. Indeed,

Cachorro at least, hails from an affluent background and has airs of a pijo (39).

Nevertheless, extreme boredom, apathy, and disgust at everything Spanish lead the boys to join a gang of neo-nazis bent on destroying everything and everybody with whom they come into contact. Like Ana, the adolescents' only point of reference is the surrounding environment they reject; at no time do they articulate any concrete alternative vision for their city. However, whereas Ana's passive-aggression proves inoffensive to Jara,

Cachorro and Surcos attack Madrid.

Pedrero, in her introduction, reveals her motives for addressing this issue: "Mi intención al ponerme a escribir esta obra no fue la de analizar.... Me planteé algo más comprometido: meterme en la piel de los personajes, conectarme con mi propia violencia y llevarla hasta las últimas consecuencias" (10). Alarmed by the increasing incidents of hostility on Madrid's streets (she cites.. domestic violence, football hooligans, vandalism

(9)), the author desperately seeks a rationale for such senseless behavior. "El descubrimiento fue clarificador: la violencia está ahí, dentro de mí" (10). For Pedrero,

Taylor 76 the violence she discovered in herself has a consistent rapport with the same misplaced priorities in society found in her earlier works: the conflict between the goals and the means: "El vivir sin sentido, sin verdaderos valores, sin reflexión, sin conocimiento de uno mismo.... El vivir con las necesidades materiales cubiertas por otros, con el consumo como recorrido y meta vital, está provocando en un número de personas conductas irresponsables que pueden llegar a la crueldad" (9).

Cachorro and Surco's view Madrid in a similar fashion to Ana, "un infierno" (18).

Throughout the play, the young men repeat the four main points which form their cosmovision: monotony, fury, revulsion and senselessness. They search in vain for a cause to fill their lives with meaning: Cachorro states early on: "Yo necesito algo fuerte que me mueva por dentro" (23). Neither card games, television, alcohol nor even each other's company can fill the void. The verb "pasar" appears frequently in dialogue: "Yo me paso por los cojones a Ron (the skinhead leader)" (16); "Pasa ya" (16); "Pasaba de todo" (23); "Mejor paso de ti" (26); "Bah, yo paso de follar" (32)... Finding no activity of interest they complain constantly of boredom: "Nos quedan dos horas de aburrimiento"

(16); "Qué calor... Qué aburrimiento... Qué asco..." (26); "Me aburro" (28). Moreover, the fault lies with Madrid and its inhabitants, who they condemn as revolting, filthy and dishonest: "Me asquea el panorama" (18); "Lo feo, lo débil, lo enfermo, lo negro, no tiene lugar" (25); "Es un rojo de mierda" (40). It becomes apparent that the enemy transcends race, gender or social class. Indeed, politicians, business men and lawyers receive the harshest critique: "Basura, todo asquerosa basura... Qué asco de caretos...

Todos iguales con sus gafas, sus arrugas viejas y luego ese uniforme tan feo... traje oscuro, camisa clara y corbata" (27). Ironically, the two hold democracy responsible for

Taylor 77 all evils: "La gente anda perdida. Ese rollo de la libertad, la igualdad y eso... En el fondo es puro egoísmo, lleva al caos" (23). Feeling that the neo-nazis' zeal for order and discipline stands out against the chaotic state institutions, education seems both undesirable and pointless. Cachorro comments on his decision to drop out of college:

"Paso de ir a la universidad. ¿Para qué? Antes pensaba estudiar Derecho. Pero me he dado cuenta de que las leyes son una trampa, un rollo para mantener las cosas como están.... yo paso de hacerle el juego al sistema" (38). Rebellion becomes necessary since an interaction at any level with Madrid acquaints acceptance of mediocrity and lewdness.

Further, Surcos states specifically that he considers skinheads superior beings to the numb masses; his chosen nickname points to his supposed intelligence: "Por mi inteligencia. Mi cabeza por dentro, ¿entiendes? Tiene surcos, grietas, pozos inmensos... llenos de ideas" (30). Despite exclaiming, "hay que cambiar el mundo, hacerlo de otra manera más radical. Controlar, poner a cada uno en su sitio..." (23), the boys fail to propose any solution to Madrid's problems, apart from total anarchy. Violence for violence's sake only acts as a distraction from tedium as well as a method to vent anger and frustrations.

The ideas Pedrero elicits in Cachorros de negro mirar coincide in many points with the worldwide skinhead doctrine; for example Patrick Louis interviews, Serge, the twenty-five year old coordinator of Parisian skinheads, who explains in a similar manner his groups objectives:

1) le skin est une rébellion positive: On détruit, mais pour reconstruire

quelque chose d'autre, avec un idéal.

2) Une culture qui ne serait pas seulement celle de la culture du houblon.

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3) Nous sommes contre le capitalisme parce qu'il ramène tout l'idéal d'avoir

un magnétoscope, alors que le but de l'homme est d'arriver à se

transcender.... Contre le communisme, parce qu'il limite l'histoire à une

lutte matérialiste des classes.... Contre la scission dans la nation...

Contre les différences de salaires.... Nous ne sommes pas pour les

privatisations ou la mondialisation... (Louis 136)33

Serge exhibits many of the same personality traits of Pedrero's characters: an acute

awareness of current social issues with a general condemnation of contemporary cultural

values and all political or religious creeds. Albeit a leader like Surcos, he also lacks

vision. In addition, he justifies targeting minorities as scapegoats for corruptness: "Le

racisme primaire se fait parce que l'Europe multiraciale est un échec. La violence permet

de montrer qu'il y a un problème. Je suis pour une Grande Europe blanche, une Grande

Afrique noire, un Grand Islam. Les différences on les cultive chez soi, pas chez les

autres. Nous, on est obligés de taper ces gens-là" (137).34 Pedrero's skinheads similarly

terrorize Madrid's minorities35: Blacks, South Americans, transvestites, prostitutes (35);

however, in stark contrast to Serge's doctrine, their preferred targets are women and gays.

Patrick Louis’ studies demonstrates that women play important roles in neo-Nazis

33 1)Skin is a positive rebellion: We destroy but in order to rebuild something different, with an ideal. 2) A culture that would not be limited to the cultivation of hops/ the making of malt beer. 3) We are against capitalism because it reduces all ideals to the mere possession of a VCR, where as the goal of man is to go beyond that, to transcend... Against communism because it limits history to a material fight between classes. Against dissension in the nation. Against salary differences. We are not for privitization or globalization either. 34 We support racism primarily because multiracial Europe is a failure. Violence allows us to show that there is a problem. I'm for a big white Europe, a big black Africa, a big Muslim world. Differences are cultivated at home, not at someone else's house. We are obliged to beat up those people... 35 Surcos states: "Ella es un degenerado, un peligro social. Tenemos que darle una lección. ¡Vamos!" (74).

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groups, often fighting alongside the men (56-59), yet in Pedrero's Madrid based

organization a feminine presence seems noticeably lacking (35). Moreover, misogyny

and homophobia are fundamental to the boys' attitude.36 As initiator of Cachorro into the

skinhead brotherhood, Surco undertakes the mission to purge the youngster of his gentle

demeanor: "Eres un poco blandito" (19); "te daba pena aquel negrazo cabrón" (19); "está

muy bien no sentir. Es el camino de la sabiduría" (24); "todavía sufres demasiado" (25);

"tienes músculos de bestia y alma de cura" (30). Clearly, Surcos considers femininity a

weakness since he requires Cachorro to feel no remorse for his victim's pain. Though the

leader realizes that true rebellion must be devoid of ressentiment, he visibly harbors bitter

feelings toward his parents (20), women (27), Ron (16) and even Cachorro (76). Proud of

his hard nature, Surcos states: "Antes [yo] me daba miedo, pensaba que era un

monstruo" (24). Consequently, the commander reacts violently, qualifying Cachorros as

homosexual each time he fails to act as a soldier (28): "Estás amariconao, Cachorro"

(29); "¿No serás maricón?" (33). Counter to popular belief, Duret believes that

homophobes actually do not find fault with gay sexual practices per se, only with the

effeminate behavior associated with these men: "L'enjeu de cette discrimination semble

moins l'interdit sexuel que le renforcement de l'identité masculine. L'ironie, la moquerie

36 Indeed, Pedrero leaves indications that their rejection of everything feminine may well reveal a latent or repressed homosexuality. At the beginning of the play Surcos at first plays with the erect phallus of an African totem and soon violently breaks it off, later he touches Cachorro's genitals, approves often of his attractive muscular physique and even plans to deflower the boy by forcing him to have gay sex with a transvestite while he listens behind the door. Also, Cachorro uses language with Surcos reminiscent of a first date: "Como no vas a tener corazón.... Me gusta que hablemos, conocernos un poco. Así podríamos llegar a ser amigos" (24-5). The prostitute, Bárbara, also qualifies Surcos as gay: "Tu amigo es maricón. Perdona que te lo diga, pero es que no falla" (55-6). Further, David Foster, in Spanish Writers on Gay and Lesbian Themes, believes this play is homosexual in nature: "love-hate ambivalence produced by a homosexual desire" (124). I believe that the sexual orientation of the boys is irrelevant to the plot, if present it only adds more reasons for their rebellion, ressentiment and rage against an unfair society from which they feel excluded.

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et la critique s'en prennent avant tout à l'autre sexe. Ce qui est reproché n'est pas en

rapport direct avec la pratique sexuelle mais avec des manières désignées comme

féminines" (52).37 Evidently this applies to Surcos since the man pressures Cachorro to

reaffirm his masculinity by raping a transvestite prostitute: "Hace hombre meterla fuerte,

rápido. Como de una patada. No hacen falta besitos ni chorradas.... Es igual sólo tienes

que entrar por la puerta de atrás" (34-5). Afterwards, he aims to batter, emasculate and

possibly murder the outcast. On one hand, the plan serves as an ideal pretext to deliver a

major blow to the sources of femininity against which the boys rebel, ressentent and lash

out. On the other hand, they demonstrate their manliness to each other and themselves.

Nevertheless, Cachorro dually fails and passes his initiation. By collaborating with

Bárbara (who turns out mysteriously to be a woman) to save face and avoid a massacre,

he shows clemency, humility and dignity, the exact opposite values to those of a fierce

warrior. However, Cachorro does prove his strength in the violent conflict that ensues

once Surcos realizes the betrayal. "¡Me llamo Cachorro y soy peor que un animal

salvaje!" (82). Ironically, he may have slain his mentor. The ending remains ambiguous;

Pedrero once more struggles to understand a phenomenon affecting her beloved streets:

"(Surcos se mueve en una convulsión.... Emite un aullido largo, doloroso, abismal,

mientras se va haciendo el oscuro)" (83).

Since Francisco Franco's death in 1975, Spain has leaped into the twenty-first

37 The aim of this discrimination seems less a ban on sexual freedom than a strengthening of the virile masculine identity. Irony, mockery and criticism are directed above all toward the opposite sex. That which is reproached is not directly related to the sexual practice but to the behavior/ manners people identify as feminine.

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century. The three decades that have passed, corresponding to Paloma Pedrero's adult life

(17-47), show unprecedented modifications to the country's character. Indeed, Spain has

embraced western civilization entirely; symbolized best by its entry into the European

Economic Community in 1986. Subsequently, a new consumer culture emerged that

heightened the role of money, making amassing capital the fundamental goal for a

comfortable life. The keys to reach success seem, in principal, accessible to everybody:

studies, hard work, luck as well as compliance with the prevailing cultural and societal

norms. Merton's theory reduces the formula for success to two basic principals: attain

the goal (financial success) by persevering through the instituted avenues provided by the

capitalist world. Pedrero speaks of the goals and ways in Isla Amarilla; yet, in Kuavi's

speech she warns of the adverse effects of accepting this type of model: exploitation,

difference in social class, anguish due to ruthless competition, generalized dissatisfaction,

as well as marginalization. Whereas the Samoans/ spectators may, in theory, still choose

to discard this social structure, Pedrero makes clear in several works that Madrid is

already "hell" for some people. Sociologists stipulate that the vast majority of

Westerners do conform; this is no doubt also the case of Madrileños. Conversely,

Pedrero usually shuns this group, choosing almost exclusively to write about the

individuals pushed aside by the social structure. In general, the playwright takes a

critical view of conformers in her plays; for instance, blind ambition characterizes Maria,

Paula, and Mercedes, the despicable opportunists who doubly lack empathy and scruples.

Instead, Pedrero lends her voice to the graceful misfit who suffers the pang of exclusion and fails to excel in the rat race. Moreover, starting with volunteer work in hospitals in the 1970’s and including her sociological studies at the Universidad Complutense,

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Pedrero has spent her life in favor of outcasts. In theater, Pedrero admits finding the

material for her plays in the streets. In a 1993 interview, the writer speaks about her

passion for marginalized people:

Yo siempre me he identificado con la gente que está fuera del sistema, con la

gente que intenta hacer su propio camino, aunque ese camino les lleve a

meterse, a veces, en algo en lo que no saben cómo salir. Me interesa mucho

el alma de esas personas. Me interesan mucho los procesos que llevan a la

gente a marginarse. Además, me parecen personajes mucho más poéticos.

Yo en los rebeldes, en los marginados, veo poesía. Yo, en un vagabundo veo

poesía, en una mujer veo poesía. En un hombre de ésos, típico, de negocios,

que viene del banco y tal, es que no veo poesía. (Harris 32)

Following Merton’s theory of anomie, it becomes apparent that the writer depicts many different types of deviants: innovators, ritualists, retreatists and rebels. Each deal with marginalization in their own ways. Innovators, like Reyes, eventually come to infringe all laws and ethics. In the game of survival she seems willing to make use of any resource. Ritualists, like Pedro or Carmen, adopt a set routine with fixed obligations and machine-like reactions in hopes of creating a semblance of security. In the process they lose their soul and identity. Retreatists, like Agustín and Juan, fall into a treacherous world of defeatism and substance abuse, no options discarded in their quest to flee the real world. Unfortunately, every day they fall deeper into a quagmire from which they can no longer fathom any outlet. Pedrero's outsiders cope by indulging in denial and self-

pity, escapism and role-play, as well as distort the daily situations they encounter, all

with the sole aim of avoiding the painful truth of their plight. Her rebels, however, do

Taylor 83 seem enlightened to the world around them but lack vision or know-how to change their environment. Indeed, Ana prefers to enclose herself in a small room for almost twenty years rather than participate in Jara or Madrid’s social order. A recent trend in Pedrero’s work is seen in Cachorros de negro mirar; the powerless rebels now lash out desperately and violently at the city they grow to despise. Nevertheless, the unresolved ending characterizes Pedrero’s theater, giving her protagonists a glimmer of hope despite their marginalized state. In Autor, autor, una pasión, Pedrero comments on this aspect of her plays: "los personajes de mi teatro son aparentemente frágiles.... frágiles como un junco,

¿no? Que se mueven y se caen pero que siempre se levantan. Siempre hay algo que les hace seguir y les hace luchar por sobrevivir, por seguir adelante." Therefore, Ana, Reyes and Estrella may well survive in their next adventure; Pedro, Olegario and Juan might gain insight into the bitter truth from which they hide; and even the hateful Surcos wakes from his unconscious state. As Javier Villán states in his interview with the playwright in

Primer Acto: "Paloma Pedrero es un ser piadoso con sus personajes, a los que, dice, hay que defender a muerte hasta el final, incluso a los más antipáticos" (61).

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Chapter 2

The Pathology of Communication

Creo que estamos inmersos en un mundo sórdido, muy ruidoso,

muy histrónico, donde la sensibilidad de la gente está como dormida y

cada vez hay menos ética. (Paloma Pedrero in Ladra, 1993)

Paloma Pedrero depicts the Spanish society in distress. Her characters, though desperately seeking recognition, lack the know-how to express themselves effectively or empathize with family and peers. Moreover, their thwarted attempts at communication create an impasse in which protagonists feel mutually victimized. Fueled by greed, pride, and fear these individuals inevitably fail at relationships. The addressing of two central issues will make for a greater understanding of Pedrero's theatre: 1) the building of an atmosphere of distrust, 2) the resulting effect on interpersonal exchange.

The general malaise noted in Pedrero’s plays is a direct result of the marginalization or individualization processes discussed in last chapter. The gradually- eroded social norms of past generations offer opportunities in self-realization, but at the expense of destroying the close-knit circles that traditionally provided lifelong support.

Representing an historical phenomenon of our time, Paloma Pedrero's characters often end up alone and coping badly with solitude. They tend to search for connections with others, yet fail to achieve their aim. In fact, Soledad Alcaide discusses individualization in a recent article for El País newspaper on 18 December 2003. “En España hay ya tres millones de hogares unipersonales, según el censo de 2001, una cifra que triplica lo que sucedía hace veinte años. Pero jóvenes solteros hay muchos más: unos cinco millones de

Taylor 85 personas entre los 25 y 49 años, según el Instituto Nacional de Estadística.” Octavio

Uña, sociology professor at Rey Juan Carlos University, affirms in the same article that a new type of lifestyle is swiftly developing in Spain. "España ha vivido siglos en pocos años y eso tiene varios efectos. La gente jóven vive en el tiempo presente, de una forma muy diferente a las generaciones anteriores. En [mi] opinión, una sociedad de consumo tan intensa no quiere hablar de futuro, y por lo tanto, entabla relaciones sin visión de continuidad." Total independence wrecks havoc on Pedrero’s characters. Distrust of other characters becomes a leitmotif in Pedrero's plays, as characters often mistake good intentions for ill-will, assume aggression and take pre-emptive action. The absence of a ready-made social structure leads to the inability to communicate on any level.

"I’ll be there for you when the rain starts to fall" is the theme song to "Friends", one of the most popular American sitcoms circulated worldwide. The characters of the series, alone in New York, form a new support group composed of peers who help one another overcome trials and tribulations similar in nature to those described in Pedrero's theatre. In stark contrast, the young adults in "Friends" cope well with their impersonal environment and thrive. To my mind, the key to their success lies in the communal lifestyle in which the characters have daily opportunities for effective discussion and positive feedback. Although the idealistic scenarios of "Friends" seem farfetched, the sitcom elicits widespread appeal, serving, in a sense, as a model for youth yearning to replicate a similar social web. "En toute société, il existerait ainsi des identités typées qui sont en quelque sorte des modèles pour la conduite sociale, et qui représenterait la réalité objectivé qu’engendre une société et à laquelle les individus s’identifierait," (Touraine

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180).38

Paloma Pedrero provides a window into the daily lives of her characters; rarely

constructing a set model for her public, she prefers rather to reflect typical urban

situations where characters struggle to reach out to one another, yet fail. Indeed, the

characters seldom surmount their tensions, fears, and deficiencies; hopes are dashed

when they prefer to separate rather than move onto a new level of cooperation. The

characters' feeling of abandonment parallels closely the frustration of spectators who are

left alone to unravel any solution. Pedrero, in the tradition of Spanish neo-realism,

prefers creating food for thought rather than stating concretely her intentions. As the

author herself affirms, "El teatro tiene que ser un territorio de libertad y agitación,"

(Pedrero 1995).

Gestalt Theory and La isla amarilla

Paloma Pedrero graduated from Madrid Complutense University in 1979 with a

B.A in Anthropology, before specializing in Gestalt theory at an institute in Florence in

the 1980's. The influence of her studies left an imprint on her works shown clearly in La

isla amarilla. Proponents of Gestalt theory (from the German gestalten - recovery39)

assert that modern urban lifestyle has become artificial; that is, producing the negative

effect of forcing individuals to adopt a common identity involving set roles, fake taboos,

38 In every society, there exists certain identity-types which can serve as models for social conduct, and represent a sort of reality which society creates to which individuals should identify. 39 from the German verb gestalten - (transitive) to put back into its rightful place, (intransitive) to get back into one's rightful condition or shape, also to restitute. Gestalt! is the second person plural imperative form or (All of you) put it back where it belongs! Get into your rightful condition or shape! Get back to where you belong! Avoiding the awkward translation, most scholars leave the German. In my text, I will sometimes use my own translation, recovery.

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and bureaucratic regulation. Followers of Gestalt talk of crisis in a destabilized

environment where most people perform mechanized functions, accept mediocrity in

their relationships, and never reach full potential. Surprisingly, despite heavy criticism,

Gestalt renounces any lofty goal of social change, preferring to focus on a personal

empowerment. Indeed, the crux of Gestalt is overcoming bad socialization --notably

painful childhood memories, and recovering a healthy approach to life in the present.

Consequently, therapies derived from this theory tend to be quite optimistic, easy to

implement and readily accessible to anyone. Moreover, the precepts center on three

issues: 1) reawakening to one's true nature, and deprogramming the ill-effects produced

by one's own experience in society; 2) full self-awareness (blockages, deficiency, strong-

points) and recovery in the present by means of contact with others and nature; 3)

considering oneself as a whole and repositioning all aspects of one's existence (physical,

emotional, social, intellectual, sexual, spiritual, natural, professional, etc.) thus returning

to one's natural tendencies. Gestalt views a healthy individual as (inter)dependent, self-

actualized, invincible, and in a state of grace with the world and people which surround

him; in summary, Gestalt is the catalyst for social change.40

The Gestalt Prayer

You do your thing and I do mine

I am not in this world to live up to your expectations

And you are not here to live up to mine

40 In many of Pedrero's plays protagonists make awkward attempts at creating their own sort of Gestalt therapy -- i.e. addressing painful memories of the past, discovering their true identity, tackling conflicts in their relationships -- but most fail. One notable exception is Estrella, who does seem to gain keen insight into her life after tackling the issues surrounding her father's abandonment of the family. Indeed she has the tenacity to tackle all her feels when she enters into the casino to face her father's memory.

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You are you, and I am I

Though essentially we are the same

If we should meet -- it's beautiful

What we can share, discover or create is endless

If not -- it can't be helped. (Stickel 165)

In La isla amarilla, Pedrero establishes a historic context, the European

colonization of a small island in Polynesia as metaphor for contemporary Madrid and

gives us insight into the ideas that have permeated Pedrero's work. At the start of the

play, Kuavi, the tribal chief, returns from a visit to Europe with sufficient vision of

western lifestyle to inform his people of the possible advantages and drawbacks of a

European presence on Isla Amarilla. His discourse is simple, since he endeavors to relate

the strange ways of the Papalagis to the everyday reality of the Samoans. Subsequently,

the islanders are to vote for or against collaboration. Through the eyes of the leader,

Pedrero satirizes contemporary Madrid, putting forward many of the themes crucial for a

grasp of her plays.

I will take several crucial extracts from La isla amarilla to illustrate the writer’s

weltenschauung41 and then link them to her dramatic works.

On apartment building and elevators:

[Los apartamentos] son como cajas gigantes de piedra y están llenas de

agujeros de arriba a abajo. En cada gran caja de esas viven muchas familias

41 As in Gestalt theory, 1) unconsciousness, unawareness, insensitivity, blindness; 2) mistrust, fear; 3) belligerence, antagonism; 4) separateness, divorce, fallout; 5) escapism, avoidance, role-play.

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diferentes que apenas se conocen unas a otras y, cuando se encuentran en el

agujero donde pasan todos furtivamente....no saben que decir ni donde mirar.

(La isla amarilla 40-1)

Blindness is a recurrent theme in Pedrero’s work. While sharing a common living space,

city dwellers seem oblivious to their neighbor's similar existence, eluding interaction

which would otherwise prove mutually beneficial.

En el parque

En un banco está sentado un hombre. Nazín llega, se sienta enfrente y le

mira. El hombre, molesto, abre su periódico y se lo pone delante de la cara.

Nazín le sigue mirando. El hombre comienza a inquietarse..., se gira

intentando darle la espalda.

Hombre.- ¿Qué quieres? No te conozco.

Nazín. (INGENUO) No quiero nada. (La isla amarilla 70)

The ensuing dialogue demonstrates to what point the man distrusts Nazín. Be he a thief, a drug pusher or an aggressive homosexual, the foreigner's dubious intentions immediately create panic. Fortunately for the man, the police soon arrive on scene to arrest Nazín.

Hombre.- ¡Uf, qué susto! No puede estar uno tranquilo en ningún sitio.

In this scene, approaching the stranger clearly equates aggression. Pedrero's characters consistently seek out short-term protection in the comfort of pre-emptive attacks.

Nevertheless, this hostility reinforces solitude. Similarly, in the section entitled “La guerra de los sexos“, the author shows mistrust even in a household where failure at pooling resources eventually leads to divorce. In the following vignettes, the husband

Taylor 90 and wife channel all energy into useless bickering over household chores, money and power.

Tercera viñeta (after a day of hunting)

El hombre llega a la caverna sin oso. Aparece la mujer arrastrando el oso. El

hombre cuenta que no hubo suerte. La mujer enciende la lumbre. El hombre,

cabreado, corta un pedazo de oso y lo echa al fuego. Mientras se asa el oso,

los dos se duermen exhaustos.

Cuarta viñeta

Se ve un oso en el bosque. El hombre y la mujer, cada uno desde su punto

diferente, apuntan al mismo oso. Se gritan el uno al otro que el oso es suyo.

Con los gritos el oso se espanta y se va.

Sexta viñeta

Un oso va por el bosque. Detrás, un hombre le persigue apuntándole con su

arco. Detrás del hombre, agazapada, la mujer apunta al hombre con su arco.

Séptima viñeta

Dos cavernas. La mujer duerme sola en una choza con su oso. El hombre

duerme en otra con su oso. (59-60)

Later, Kuavi probes deeper into Western psyche with his description of bars and discothèques.

En el pub

Semioscuridad, griterio, música a todo volumen. Los personajes miran hacia

todos los lados con avidez. Beben, fuman, esnifan..., desaforadamente. De

vez en cuando alguno ríe a carcajadas por nada, otro llora por nada.

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Kuavi.- En estos lugares la gente se lo pasa muy bien. Algunos se

enamoran de otros y por la noche comparten la estera. Otros

beben hasta no poder más. Algunos van a mostrar sus bellos

taparabos...

Los personajes siguen accionando inmutables. De pronto, se para la música.

Surge un grave desconcierto. Los personajes emiten sonidos como si

probaran la voz. Se miran, ya no saben qué decirse, tensión, terror. Dejan

dinero sobre las mesas y salen huyendo.

The pub symbolizes an escape from the stifling tedium of daily routine. In the setting of a dark venue, intoxicated and mesmerized by loud music, young people let down their guard and search out the other for a moment of intense, yet artificial communion. The absence of any one factor, in this case darkness, immediately breaks the ambiance and forces the individual back into his/her habitual awkwardness. Kuavi qualifies this outlet

of tension as ritualistic, a habitual occurrence. Indeed, Pedrero frequently employs this

technique in her plays to create short-lived bonds among her characters.

The tribal chief comments on many different means of escapism: television, theater and

cinema for vicarious entertainment, newspapers and magazines for a conversation

alternative, even prostitution for temporary intimacy.

Kuavi.- Y cuando termina, vuelven a sentirse solos. Sí, mis hijos del sol,

porque aunque los papalagis (westerners) viven apiñados en cajas

de piedra, aunque a veces empújandose por las grietas (streets),

los papalagis, muchos papalagis, se sienten solos. Cuando uno de

nosotros quiere estar solo, no tiene más que retirarse y nadie le

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persiguirá. Pero cuando quiere estar con hermanos sólo ha de

acercarse a ellos. Con los papalagis no ocurre lo mismo. (70)

In summary, Pedrero clearly formulates a vision in La isla amarilla which she will employ faithfully in her work. Metaphoric blindness begets mistrust, leading to fear, afterwards hostility, then separation, and finally aloneness, solitude and escapism. A return to paradise lost may be desirable; however, in a world already reeducated in individualization, a collective awakening to a shared pathology and a sincere attempt at communication become the only solution.

The function of relationship

Forming a basis for complicity

Each to each a looking-glass Reflects the other that doth pass. (Charles Horton Cooley)

Socio-psychologists have formulated several theories on human interaction, some

favoring various behavioral or cognitive aspects, others concentrating purely on

conversation or even non-verbal communication, but all recognizing the importance of

frequent contact with mutual recognition. In "The Meaning of 'Relationship,'" Edna

Rodgers concludes that a "halo effect" develops in successful long-term relationship

(whether acquaintances, close friends, best friends, co-workers, communal relationships,

or marriage) by which partners create an evolving code of conduct (schemata) to deal

with future disagreements and conflict engagement. Rodgers asserts that while culture

influences all relationships, each code is personalized to address issues relevant to a

Taylor 93 given couple: expectations, rights, roles, obligations, boundaries, and needs. "Two processes associated with schemata are of special interest to relationship scholars: the process by which an individual's general relationship schemata is particularized to a specific relationship and the process by which two partners achieve overlap or agreement in their relationship schemata" (Rodgers 118). What's more, once parties agree jointly on the terms of their alliance, the contract becomes both the cause and effect of relationship satisfaction. "Schemata contributes to satisfaction which facilitates the communicative processes that lead to greater agreement" (Rodgers 121). Finally, the successful couple becomes intersubjective, or increasingly interwoven as each partner assumes some responsibility for the other's outcome.

In a 1994 Maine study, William K. Rawlins analyzed recorded dialogues in order to pinpoint elements which had produced successful friendships. His results concur both with Rodger's "halo effect" and with the natural harmony approach of Gestalt therapy.

The women he studied show an orchestra effect, where each friend tunes into the other.

Indeed, conversation builds on past experience with all meaning a continued process and product of mutual effort. Fischer speaks of "saving face" in relationship, as communication reveals vulnerabilities. Partners must be mutually coaxed into abandoning their intimate refuge with assurances that an opening up will not be detrimental. In this case, the relationship code should include rules regarding amour- propre, consideration, confirmation, and reparation. The Maine study demonstrates clear respect in friendship. The friends frequently endorse the other's points of view or concerns with frequent conversation fillers (Yeah, I get your point, I see, Of course), and friendly intonation patterns abound with repetition, conditional verb tenses (would,

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might, should) and mutually appreciated humor (mimicking others and past experience).

When the couple bring up litigious issues, they emphasize their personal frustrations and

hurt feelings while never attacking, judging or assigning blame. In addition, each

discussion has closure where together they rehearse future behavior in crisis while

showing compassion and mutual encouragement.

Young characters

In Pedrero's theater, such schemata are missing in relationships among younger characters. In La llamada de Lauren, Pedro abruptly destroys a pre-existing code when

he declares a repressed feminine identity and obliges his wife, Rosa, to assume a more

masculine role in their marriage. Furthermore, the protagonist rejects discussion of

matters important to Rosa, most notably her desire to procreate or make a career for

herself. The pre-existence of mutually agreed schemata seems doubly unlikely in light of

Pedro's declaration and the general dissatisfaction of both characters at their marriage.

The absence of points of reference appears obvious since Rosa lacks the know-how to

react to the new context. Despite years of marriage, the two characters are not

comfortable with one another, and reticent to engage in meaningful exchange.

Likewise, in Resguardo personal, another marriage break-up seems imminent. Though

prior details of the couple's communal life are missing, Marta reacts with indifference to

Gonzalo's attempts at making amends, concerned more with severing all remaining

connections and dividing their possessions, notably their dog, Nunca. A double

discourse ensues by which spectators/readers learn that the partners hold diverging

expectations for their marriage; Gonzalo affirms that a mutual sacrifice for his

professional success will create future stability while Marta reiterates her need for love

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and understanding. The husband views their union on more relaxed terms; he accepts

Marta's infidelity and justifies his absences and aloofness. In contrast, the wife longs for a

conventional relationship and a lifelong companion. Indeed, a common code never

existed, and years of marriage have functioned only on assumption and little agreement.

The end reveals Gonzalo and Marta bent on assigning blame and bent on hurting each

other. "When couples have little agreement in their schemata, the inability to reach

consensus...may contribute to lower satisfaction, and lower satisfaction diminishes both

ability and willingness to engage in further communication... perhaps causing

irreconcilable differences" (Rodgers 121).

Cachorros de negro mirar deals with the new friendship between two young men,

Cachorro and Surcos. Despite the shocking revelation that both boys belong to the same

Madrid group of Neo-Nazis, Pedrero treats the development of their relationship as a normal course of events. In a larger sense, the plot of the play deals with the boys' attempts at priming their relationship. Cachorro, keen to establish comradeship with

Surcos, will initially yield to the older boy's imposition of a rigid order where submission and authority efface personal boundaries and rights. Indeed, Surcos never takes into account Cachorro's concerns, thus preventing the bonding the latter desires and provoking their violent clash at the play's end. Surcos' unilateral version of friendship resembles the type of relationship Gestalt therapy tries to counteract in which one party

determines a malicious ego-centric code to which the other must categorically submit.

Another example of inability to define the terms of relationship is Invierno de una luna

alegre. Immediately after meeting, the two main protagonists, Olegario and Reyes adopt

several contradictory, but never fully developed roles: peers, friends, colleagues,

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roommates, father/daughter, teacher/student, future lovers or companions. Olegario,

captivated by his young partner, creates an imprecise vision for their common future,

mistaking Reyes' attachment as a willingness to associate permanently. In fact, Reyes

holds Olegario in esteem, but has no intention of committing to any of the

aforementioned roles, regarding the older man as a positive yet chance encounter.

Therefore, when a third character enters into the equation, irreconcilable conflict ensues,

ending their collaboration. A forced code cannot harmonize with total freedom.

Rawlins noted in his study that "less than ideal contact is a condition many adult

friends now face; [many friends] ignoring to explicitly address [key] issues" (Rawlins

157). The scholar demonstrates that when friends fail to bring up essential matters, they neglect responsibility and disregard the emotional basis of the other person. Indeed, in a recent study on Pedrero's theater, Dennis Perri rightly notes the importance of the gaze in much of the Spanish playwright's work, and subsequently applies Bakhtin's theory on mirroring. For the Russian philosopher, human beings are blank slates formed by social interaction. The mirror effect leaves a lasting imprint as the individual forms his identity based on feedback by others, the absence of which brings about a lack of self-esteem or an underdeveloped ego. Bakhtin also notes that most satisfactory friendships are formed among people sharing similar visions and common backgrounds who effectively mirror each other's perception. Perri demonstrates that mirroring does not occur often in

Pedrero's theater and that in some instances characters even impose a biased vision. The frequency of the verb “mirar” underlines missing complicity in the plays studied above, where characters frequently exclaim in key moments "Mírame" or "Mírame bien" (43-8)

Moreover, genuine uncolored viewing is crucial for developing a successful rapport,

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understanding and recognizing the other, and furthering the individual on his lifelong

process of self-discovery.

Twentieth Century American Sociology fortifies Bakhtinian ideology,

represented notably by the Schools of Chicago (led by Mead) and Palo Alto (led by

Birdwhistle). In the first case, Mead developed the notion of "role" by which individuals

adopt patterns of behavior reinforced by the gaze of peers. In a spiraling effect, parents

program appropriate discourses for their offspring, who mimic the roles they observe.

The lifelong process proves both positive and negative in nature, since phobias and non-

appropriate conduct can also be induced and repeated. Mead, as Bakhtin, rejects any

inherent human nature, believing everybody a product of his environment. “Le moi est

comme un oignon dont on enlèverait en vain les peaux successifs pour en arriver à la

dernière peau; c’est-à-dire au coeur de l’oignon. Il n’y a pas de coeur de l’oignon; il n’y

a pas de dernière peau ou de substance de sujet” (Castel in Fischer 39).42 In this light, a

cry for recognition (to be looked at) in Pedrero’s young protagonists is a dual attempt to

give meaning to self and to relationship, by setting up schemata to include appropriate

roles for each character. Consequently, lack of gazing equals absence of bonding, the

essence of human rapport, which lost or warped through individualization echoes Gestalt

therapy’s attempt at recovery.

Birdwhistle, for his part, postulates that concentrating on the gaze is limiting, and

every sense (visual, auditory, olfactory, touch, taste) and subtle perceptions play a crucial

role in interpersonal exchange. "You cannot not communicate." Vion, echoing

42 The self is like an onion; we try in vain to peel off each successive layer of skin to get to the last layer, that’s to say the core of the onion. Alas, there is no core to an onion, nor is there a last layer of skin, nor a subject (self) of any substance.

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Birdwhistle, affirms, "il n’est pas possible de ne pas communiquer, de ne pas émettre, de

ne pas transmettre, de ne pas remettre, et de ne pas admettre" (Fischer 259).43 Members

of the Palo Alto School have undertaken studies ranging from body language, gesture,

distance between speakers, and pause length to choice of words or music, muscle tension,

depth and tone of voice; the possibilities endless. Rawlins reported his frustration both at

only hearing the Maine women’s conversations and at transcribing the subtleties in their

vocal patterns. All the scholars seem to confer in their description of a “radio-like” effect

where each person simultaneous emits and receives messages building on signals already

transmitted and acquired in the past. Moreover, unharmonious frequencies produce

“static noise” resulting in conflict. Similar to Rawlins, interpreting Pedrero’s written

manuscript would prove a challenging task for producers staging her plays. Readers

may, however, gain insight from her stage directions and dialogue.

In La llamada de Lauren, Rosa complains of Pedro's indifference and lack of warmth

towards her. Within the play, Pedro's touches tend to be even more rough than his

discourse: he binds her breasts to give her a more masculine allure, grabs her hands

violently when she objects (93), then later repeats the action to calm her (97). In

addition, the male character refuses Rosa’s attempts to show him affection; examples in

the text: "Rosa le da un beso en la boca e intenta meterle la mano por dentro del vestido.

Pedro se la retira" (91). Pedro avoids contact with Rosa except during the sequences when she agrees to play Humphrey Bogart or assists in transforming him into Lauren

Bacall. Accompanying Pedro’s moments of physical aggression, the script notes a raise

43 It is not possible not to communicate, to not emit, transmit, remit, or admit.

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in the volume of his voice and at least three verbal interruptions of Rosa's speech. In

regards to the other character, Rosa expresses her discontent non-verbally: nervous

laughter, frequent pauses, silence, crying, hesitations. Indeed, Pedro interrupts his

induced role-play several times, perceiving Rosa's resistance from her body language

even when she appears to be complying. Often, the non-verbal and para-verbal elements

contrast with the spoken word, thus reinforcing the malaise in their attempts to

communicate.

Curiously, in Resguardo personal, Pedrero offers few stage directions and are limited to mood indicators; examples include: "Preocupado" (106); "Con sorna" (107); "A carcajadas" (106), "Llorando" (111); "Histérica" (111). Physical contact is also rare in this play. In one instance, Gonzalo tries to touch Marta and receives a slap (111). At two other moments, Marta endeavors unsuccessfully to prevent Gonzalo from entering the apartment; then later Gonzalo blocks the same exit for the remainder of the play. The absence of any sign of non-verbal communication demonstrates clearly the contempt each protagonist feels for the other.

Not surprisingly, stage directions in Cachorros de negro mirar tend to be very tactile:

"la coge" (16); le agarra" (19); "le da un puñetazo" (19); "retuerce la muñeca de surcos"

(22); "pelean" (22)"; "da un golpe" (25); "le pulveriza los genitales" (28); "le agarra

agresivo" (34); "golpeando la mesa" (35); "agarrándole del cuello" (36); "le arrebata el

bolso" (72); "golpea" (74); "enfrentándole" (75); "le tira al suelo" (75); "forcejean" (77).

Surcos intends to forge friendship and Cachorro’s new nazi identity by aggressive means,

consequently invading Cachorro's personal space and destroying his parent's flat. Other

non-verbal sound is frequent to reinforce the violent nature of this play: feigned sexual

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intercourse (64-6); whistling and humming (26); spitting (26); whining (66); screaming

(71); shouting (75); crying (76); spraying eyes with gas (71); moaning (83).

In Invierno de una luna alegre, a sharp contrast can be noted in Olegario and Reyes' behavior. More articulate than Olegario, Reyes clearly states her intentions, desires or disagreements. Her direct discourse, rich in slang, corresponds largely to her actions. A certain personal distance protects her from the other characters, reinforcing her much valued independence. Olegario, on the contrary, shows his intention or attachment to

Reyes only through action. He offers the young woman nourishing food, warm shelter, clean clothing, steady employment, and takes an increasing interest in her health and future happiness. Later on, the character transforms his physical appearance for Reyes by dyeing his hair and wearing more fashionable clothes. Nevertheless, Olegario remains

ambiguous largely because he is so inarticulate. Pedrero meticulously controls all stage

direction to heighten this vagueness. Olegario and Reyes seldom touch for instance, and

Olegario lacks mood indicators, perhaps to draw light to his dry nature, inhibitions, or

lack of self-esteem.

Older characters

The vast majority of Pedrero's plays deals with young Madrileños whose relationships scarcely reach the depth of the Maine women in Rawlin's study. However, one play, El pasamanos, features an elderly couple that does embody the characteristics of an ideal rapport. Married for fifty years, Segundo and Adela successfully prime their relationship by clearly defining roles and mirroring one other in action, intention and discourse. On examination, the schemata for the couple’s code becomes clear. Segundo is the decision maker and Adela, at least in theory, is the follower, supporting her

Taylor 101 husband's choices even when she herself is in opposition. The plot of El pasamanos deals with Segundo's idea to invite a popular talk show host to relate, on primetime television, how he had remained housebound for the last decade owing to the landlady's obstinacy in not replacing the building's banister. Adela, though categorically opposed, accepts his decision and does not call into question his judgment even when his plan goes awry. As Rodgers suggests, when two destinies are interwoven, the couple reacts in unison to a common threat. Consequently, Adela works both to solve the dilemma and to build up Segundo's disheartened spirit; for reproaching would be counter-productive to the couple as a unit. Nevertheless, it would be incorrect to mistake Adela for a submissive wife, as the power appears equally divided between both spouses. In the couple's schemata, Adela asserts her position only when stakes are high; in which case,

Segundo yields immediately to his wife, perceiving the urgency of the matter. Adela is, thus, the catalyst for all decisive action in the play.

In regards to mirroring, the rapport between the two characters appears totally synchronized. Indeed, owing to Adela's deafness, non-verbal communication plays an important role. In fact, Adela anticipates Segundo's needs before he articulates them; for example: (taking a nausea pill, visiting the bathroom). Segundo, for his part, showers his wife in attention, providing unlimited affection, compliments, and caresses. Further, conversation spiked with frequent references to the past serves to unite the couple in the present. The benefits of the halo-effect include consideration (putting the other first), seconding (defending the other in all circumstances), and humoring (censuring through silence for example). Finally, the couple trust each other completely. "Sé que tu me fuiste siempre fiel" (70). Contrary to the other works by Pedrero, El pasamanos meets

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perfectly the four elements stipulated by Erich Fromm for love: "care, responsibility,

respect and knowledge" (Fromm 26).44

El color de agosto

Friendship: Equity and balance gone awry

In her book, The Connection Gap. Why Do I Feel So Alone?, Laura Pappano cites

several articles from the feminine press to build the argument that a major change in the

notion of friendship occurred in America in the last forty years. She indicates that while

earlier editors stressed the importance of loyalty, honesty, and support, more recent

articles concentrate on techniques to evaluate efficiency. "[These articles] are directions

on strategies of "friendliness" for personal gain," (Pappano, 161). In defense of her

position, Pappano cites a 1997 "Teen Magazine" article entitled “How Good Are Your

Friends? Users, loser or the best buds a girl could have?” The scholar states: “the editor

suggests a polarized view of relationships. They are no longer about mutuality but

getting and receiving service.” (163). Similarly, Amando de Miguel notes a shift in

attitude in contemporary Madrid. “Para muchos jóvenes... la amistad es algo que les

agobia, porque significa responsabilidad, sentirse fieles e incondicionales, entregarse al

otro. Esas virtudes resultan incomprensibles para los jóvenes¨ (De Miguel 151).

Apparently, more exigent requirements for friendship linked with a fear of commitment

may impede the development and maintenance of meaningful long term bonds.

44 Fromm believes that all four of these elements must be present in order to achieve love: care -- the giving of the self without asking for anything in return, responsibility -- being responsive to the other's needs and wants, respect -- "to see the person as he is, to be aware of his unique individuality "(28), and knowledge -- the experience of union, "in the act of penetrating the other person, I find myself, I discover myself, I discover us both, I discover man" (31).

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The Psycho-Sociological theories of exchange and equity focus on the nature of

rapport among friends, permitting significant insight into the mechanisms of verbal and

para-verbal (dys)function. Proving quite effective in unraveling the origins of discord in

relationships, Gestalt therapists employ these concepts to pinpoint deficiencies and

repair hurt and distrust. The human psyche retains a record of all past exchange which

inevitably effects a future entente. Webster's online dictionary defines the term

"exchange" in its first sense as "the act of giving or taking freely one thing in return for

another." A secondary meaning applies to discourse developed directly from this idea of

reciprocity. Yet according to K.J. Gergen, human nature tends to favor exchanges where

the individual strives to receive maximum satisfaction at a minimum cost to himself:

"L'échange est une transaction dans laquelle nous cherchons à obtenir la meilleure

relation possible pour nous; il apparaît comme une situation stratégique" (Fischer 49).45

In short, Gergen paints a bleak picture where demanding more and grudgingly

surrendering less compromise the quality of the exchange.

The ideal type of exchange remains one of perceived equity. "Dans les relations,

il y aura équité lorsque chaque partenaire a le sentiment que les marques d'affection qu'il

prodigue lui sont d'une quelconque manière, données en retour" (Fischer 53).46 Research into communication by the French philosopher, Lévi-Strauss, establishes that consideration and respect in contexts which favor cooperation prove paramount.

Moreover, optimum communication is attained only through concerted effort by both

45 Exchange is an action in which we try to obtain the best type of relationship for ourselves. It appears as a strategic situation. 46 In relationships, equity occurs when each partner has the feeling that the signs of affection he/she gives are, in some way or another, returned.

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individuals, in a reciprocal expression of good will. Once assured an exchange is

mutually advantageous, a quality interaction ensues:

Le partenaire qui était en droit de se maintenir sur la réserve est provoqué à

en sortir; le vin offert appelle le vin rendu, la cordialité exige la cordialité...

On n'a pas la possibilité sans insolence de refuser son verre à l'offre du voisin.

Et l'acceptation authorise une autre offre; celle de la conversation...Par une

série d'oscillations alternées, selon lesquelles on s'ouvre un droit en offrant, et

on s'oblige en recevant.47 (56)

El color de agosto, one of Pedrero's most staged plays, deals with the friendship

between two young artists, María Dehesa and Laura Antón, who meet briefly in Maria's

studio after a lapse of eight years. Whereas the former has been largely successful, the

latter failed in both her professional and personal life. Both women, though bitter rivals,

have shared a long history and have influenced one another significantly. The need to

rekindle their friendship leads Maria to provoke an encounter with Laura. The

reader/spectator, acutely aware of the difficulties confronting this reconciliation, remains

optimistic. Indeed, the bond between the two protagonists remains strong, rendering a

positive outcome plausible. Nevertheless, their attempt falls short of expectation. I

intend to demonstrate that their failure at amity, owing not to lack of volition nor

sentiment, is a direct result of inadequate exchange and impossibility to achieve equity.48

47 The partner, reserving the right to be on his reserve, must be coaxed out; a glass of wine given calls for another to be returned, cordiality given calls for cordiality back....It is impossible to refuse a drink from a fellow man without being insolent. And the acceptance of the drink authorizes still yet another offer, the offer of conversation. So in a series of alternate oscillations, by which one opens up the other through offering, one is likewise obliged to receive. 48 El color de agosto can be seen as an attempt at Gestalt therapy. María hopes to rekindle the women´s

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Time apart can be interpreted as an assertion of friend's faith in their bond or

the possible beginning of a new period of separateness that may jeopardize or

put an end to the friendship. During the period of separation, there is really

no way of telling exactly which is the case, except by renewing contact.

(Rawlins 156)

In the opening scene, María, is seen preparing for Laura's arrival. The protagonist has organized their meeting with minute detail: imported whiskey, truffle cream pie, music, sketches of Laura, dimmed lighting, a singing bird, even strategic placement of furniture. Furthermore, she has planned the encounter point by point. "Lo tenía todo claro," (Serrano 123). On the one hand, María believes the setting will impress Laura, making the prospect of a renewed friendship tempting. On the other hand, the character seems aware that the ambush gives her the upper hand. Though she will reiterate her desire to befriend Laura, her Gergen-like attitude will appear consistently throughout the work, as she plays card after card in an attempt to procure friendship on her terms. In the first scene of Color de agosto, María monopolizes the conversation and stifles Laura with an aggressive tone and a commanding presence. In addition, she seems oblivious to the woman's discomfort as well as impervious to her timid retorts.

María Siéntate. (Laura no se sienta) Dime algo. ¿Qué te ha

parecido la sorpresa?

relationship by addressing the hurt of the past. However, the efforts fail since the artist hopes insists on imposing her biased vision.

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Laura (recuperándose) Algo brusca

María (agarrándole las manos) ¿Por qué tiemblas?

Laura No tiemblo

María (La abraza) ¡Qué alegría! No me lo puedo creer. Ven,

siéntate aquí. ¿Qué quieres tomar? (120)

[....]

María ¿Por qué no me llamaste para decime que habías

regresado?

Laura Todavía no he regresado.

María Así que pensé darte una sorpresa y le di a la agencia un

nombre falso. (121)

Having set the agenda, María persists on carrying it out. F. Jacques speaks of the negative effect of the moi-ici-maintenant or deixis. (Fischer 58) In order to achieve balance, a neutral ambiance is preferable, rather than a situation in which one party unilaterally imposes time, place and program. By arranging a surprise appointment on her terrain, María effectively marginalizes the other participant, Laura, who immediately opts for the solution of flight.

Laura Me voy...

María No; por favor. No te vayas.

Laura Este ambiente me ahoga. (124)

Flight is Laura's trump card; she threatens to leave consistently as a means to circumvent

María's mounting power. "La verdad o me largo" (126); "(Con una caricia) Me voy"

(141). In any event, the reality of an eight-year separation and the prospect of it

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continuing proves daunting enough for the hostess to yield categorically to her guest.

"Te dejé" (136). Indeed, Laura's tool is so effective that at one key moment María strips

Laura of her only source of leverage by tying and gagging her. In general, Laura's threat

plays a positive role in El color de agosto, as it establishes a kind of forced equity between the two characters. María must cooperate with Laura if she hopes to keep her in the studio.

Dysfunctional discourse according to Laura

Although María's goal of reconciliation is evident in El color de agosto, Laura, nevertheless, takes the most positive initiative at realizing such a feat. Echoing Lévi-

Strauss, she adopts a point by point rational discourse, and articulates clearly her need for equity. "Tendríamos que empezar de nuevo... en igualdad de condiciones" (124).

Moreover, for Laura, uncovering the real motive for the visit proves vital: "¿Sigues necesitándome?" (127); "¿Eres feliz?" (129); "¿No tienes un argumento mejor?" (129);

"Me reprochas cosas que te encantan" (137). The character employs a number of strategies to keep the discussion focused and direct. After initially refusing to engage in any exchange with María, she acquiesces to her offer of whiskey and pie. “¿Irme?

¿Habiendo tarta de trufa y whisky de lujo?” (124). Fischer identifies this scenario as

Stratégie de résistence. “On commence par une position où l’on fait peu de concessions

à l’autre, mais ensuite on adopte une attitude beaucoup plus coopérative” (Fischer 52).49

A conciliatory attitude prompts María to drop her act, listen to Laura and accept her

proposal for collaboration. “Ya estamos en igualdad. Me has desarmado” (124). Later

49 One begins with a position where few concessions are made to the other person, but then a much more cooperative attitude is adopted.

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on, Laura will systematically veto all intention by María to reestablish her discourse of

outreach or solidarity. “Pero todavía tengo dignidad. No estoy en venta” (141). Indeed,

tackling the sensitive subjects of their fallout and Laura’s subsequent departure and

failure is equivalent to capitulation and loss of equity. Therefore, Laura’s strategy is to

contain María while simultaneously attacking her apparent vantage points: profession, wealth, marriage, social status. In this manner, the character endeavors to reinstate their friendship with the revelation of María's truth, not her own. "No pienso hablar del pasado" (125); "No quiero hablar de eso" (128). The stratégie de sabotage begins

immediately and gains in intensity.

Laura (Riéndose) [Fui] una mala maestra. No aprendiste nada.

María Los entendidos no dicen esto. (126)

[....]

Laura Estás nostálgica como una muerta. Sí, estás como muerta. Joven,

muy joven y bonita, pero...la fama y el dinero te han hecho

demasiado perfecta. (127).

[....]

Laura No finjas, (128).

[....]

Laura Qué falsa eres, (133).

Diversion is also a common resistance strategy. As María works both at addressing

Laura's plight and her subsequent marriage to her ex-companion, Laura resorts to several ruses to break the exchange and "empezar de nuevo." On several occasions, Laura interrupts María at strikingly key moments for the other woman. "Hace mucho calor"

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(120); "¡Qué calor!" (128). Apparently, the heat of August is more than just physical for

Laura: "No me cuentes nada. No quiero saberlo" (131). At other moments, a non-verbal reaction serves the same purpose; i.e.: crying, spitting.

María Te quiero

Laura Y tienes mucho dinero

María Sí

(Laura se echa a llorar)

María Laura, Laurita, perdóname. (129)

[....]

María No sigas engañándote. A Juan no le importaste lo más

mínimo. Sólo eras la zorra más barata que encontró...

(Laura le escupe a la cara. María se derrumba.)

Laura Perdóname. Díos mío. Estamos locas. (139)

This diversion strategy is quite effective as María, albeit frustrated, cedes again to Laura.

María Está bien. Como tú quieras. Siempre es como tu quieras. (132)

In conclusion, Laura's methods of resistance and sabotage function well in creating temporary exchange and false equity, thereby enabling the discussion to pursue its due course and reach sufficient depth. Eventually, María lets down her guard, confessing her love, need and admiration for her lifelong friend; in short, Laura’s only desire.

Nonetheless, this stance hinders needed reconciliation. As Fischer observes: "Pourtant, de telles positions de résistance comportent beaucoup d’inconvénients de point de vue de

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l’efficacité à long terme" (52).50 Not surprisingly, Laura ultimately flees yet again.

Dysfunctional discourse according to María

The character of María appears, in general, much more complex than that of her

antagonist. Embodying the positive elements of beauty, wealth, success and youth, she is

nonetheless unhappy and unstable. Albeit sincere in her quest for reconciliation and her

desire to aid Laura, she takes pleasure in humiliating her. Moreover, both image and

control characterize her life, compounded in the elaborate pageantry she struggles to

maintain. At various moments in the play, María speaks with bittersweet pride at the

proportions the act has taken: her marriage ceremony, the accolades of art critics,

feigned sexual satisfaction. Instead of cultivating relationships, she wields power over all

the important people in her life. Echoing past experiences, and forewarning Laura, she

generalizes every relationship in her life stating: "siempre hay uno que proyecta su

sombra sobre el otro impidiendo su crecimiento, de manera que aquel que queda a la

sombra está siempre atormentado por el deseo de escapar..." (135). Hence, submission

has the ricochet effect of bringing about rebellion and desertion and, as a result, keeps

María from developing the meaningful connection she yearns for. Were these obstacles

not challenging enough, María differs from Laura in her implicit nature. Consequently,

María skirts the issue to avoid directness, prefers the comfort of role-play and reacts in an

inconsistent even contradictory manner. While censuring her guest's debauchery: "Estás

alcoholizada," (129); "Toma, sigue destruyéndote a tu gusto" (136); "Dejar de beber, por

supuesto" (140), she nevertheless, encourages Laura to drink.

50 However, such positions cause many drawbacks from he point of view of enduring efficiency in a long term exchange.

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María Tengo preparada para ti una botella especial. ¿Quieres?

(Laura asiente. María saca la botella y prepara las copas.) (121).

María Vamos a beber.

Laura Sí, lo necesito.

(María llena las copas y bebe.) (124)

María ¿Quieres más?

Laura No, gracias. Bueno, un poquito más. Calma la sed.

María Tengo más botellas. (125).

Laura (Se sirve alcohol) Tendremos que beber.

María Sí. (127)

Laura Dame el vaso, por favor. Si no me emborracho. No te aguanto.

¿Sabes? A veces, cuando bebo mucho, pinto. Si me das más, te lo

voy a demostrar.

(María le pasa la botella) (136)

By inebriating Laura, María's strategy is twofold: to undermine Laura's pragmatic stance and to entice her into role-play. At ease in her own elements, the host regains dominance and is at liberty to play the caregiver and protector.

María Ven. Ya no estás sola. Has vuelto a casa. No voy a dejar que

nadie te haga daño.

Laura Mamá...

María Sí, quiero ser tu mamá.

Laura Dame de eso.

María No. Estás bebiendo demasiado...

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Laura Un poquitín solo... Como si fuera un biberón...

María Toma. Un poquitín sólo. Ya Laurita, ya...

Laura ¿Eres feliz?

María Ahora sí. (129)

Thomas B. Gillmore in his study on alcoholism, Equivocal Spirits, remarks: "alcohol is

the source of inspiration or the courage to take risks. Drinking provides an eruption into

a better world or self or a means of learning the truth, sometimes stringent, about oneself"

(Gillmore 12). María hopes by inducing the second reality, Laura will rediscover her

latent feelings towards the other woman, embrace the kind of friendship she proposes and

create an ambiance where she will better assume María's marriage to her ex-companion,

Juan. Certainly, one aim is accomplished. In due course, Laura admits to her difficulty

in rebuilding her life and forgetting Juan, thereby prompting María, as mother, to leap to

the challenge of consoling her child.

Laura Estoy sola y no tengo nada. María, hace cuatro años que no

pinto y ocho que no amo, que no puedo. Soy muy desgraciada.

María Yo te cuidaré, (130)

[....]

María Te voy a lavar tu hermosa carita.

Laura (Yendo hacia el agua, abrazada a María.) Lávame los

pensamientos...¿Eso se puede hacer?

María Lo intentaré. (Le da agua en la cara y en el pelo.) ¿Qué tal?

¿Cómo van esos pensamientos? (132)

Later in the same scene, María transforms Laura once more into a beautiful bride, erasing

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the effects of premature aging.

María Un poco de sombra azul... Así... Sigues teniendo ojos de

duende.

Laura Pero ahora están rodeados de arrugas... Anda, quítamelas.

María Tienes la cara que te mereces. Y es absolutamente bella. (132)

Serving as a prelude to a lesbian wedding scene, María makes a subtle attempt through her actions to convince Laura that a reconciliation is well worthwhile. Susan P.

Berardini, in "The subversion of ritual in the theatre of Paloma Pedrero," draws a comparison to various Catholic sacraments, each of which acquire a symbolic meaning.

In El color de agosto María assumes the superior role in the rituals mentioned

above. She interprets the role of "priest in the "baptism" of Laura, and she

subtly directs the action of the wedding scene so that it culminates in a kiss.

The "baptism" may be viewed as a prerequisite ritual for the wedding scene

because from María's perspective it serves to sever symbolically the love

triangle that exists between the protagonists and Juan. (de Angelis, 76)

The American scholar explains that religious rituals normally have the positive effect of integrating the individual and serving as a rite of passage; however, in El color de agosto

María employs such strategy to satisfy a personal need, thus impeding the integration of

the other character and the success of reconciliation.

Throughout the remainder of the play, a predictable pattern immerges: María

serves alcohol and induces metatheatre; Laura, at first, seems complacent but then forces

a return to reality. The hostess, preferring to keep to script, grows ever more impatient

with her guest, and eventually hits Laura in the face with the truffle cream pie,

Taylor 114 occasioning a violent scene in which the characters strip and paint each other's bodies.

Indeed, the interpretation of this enigmatic scene gives rise to varied responses by critics, ranging from implications of lesbianism (Makris 21), artistic creation (Harris 122), to feminist liberation (Guerrero 143) and quasi-religious ritual (Berardini 77). However, continuing in the vain of dysfunctional exchange and equity, I opt to view the sequence as a final desperate attempt at resolving their differences. Neither woman has thus far succeeded in imposing her will, nor does either one address the main issues of the other character. In addition, the different discourses, strategies and objectives sabotage effective exchange, with equity never truly on the horizon. At any rate, the scene does bear fruit; the participants momentarily drop their masks, reveal the motives for the fallout and purge the bitter feelings they harbor. Harnishmacher and Kelly propose the

"frustration aggression hypothesis" in which "the blocking of human desires causes aggression" (43). Violence breaks out in situations where desires of love and acceptance are frustrated and no other outlet for expressing latent feelings can be found. A good example can be seen in the following series of dialogues.

María No quiero volver a ser tu trapo. (137)

[....]

Laura Antes te gustaba. (137)

[....]

María Era el único momento en que me mirabas. (137)

[....]

Laura Basura en el ombligo de mi carcelero. ¡Me mataste, me

mataste! (138)

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[....]

María ¡Yo todavía puedo fingir! ¡Todavía tengo con quien fingir! (138)

[....]

María Te fuiste y te llevaste las ideas y el agua. Me dejaste vacía.

(138)

[....]

Laura Yo no amo, pero gozo. (138)

[....]

María Teníamos el tesoro agarrado con dos manos. Una era tuya y otra

mía.

[....]

Laura No quiero darte explicaciones. (139)

[....]

María Me duele tanto... aquí todo. Las entrañas. (139)

Ironically, Laura articulates the root of their impasse. Whereas María needs to "love" conditionally, her friend "enjoys" the showered affection only to the point it suits her and is unwilling to fulfill María's demanding expectations.

María Pídeme algo. Aunque sea una sola cosa. ¿Puedo darte algo?

Laura No

María Mi amistad

Laura No

María ¿Por qué? ¿Por qué?

Laura Me exiges demasiado y no tengo nada a cambio. (141)

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Unfortunately, the climactic moment is unsuccessful in creating a lasting atmosphere in which the women can make headway in accepting their dual visions. On the contrary, the scene brings about the play's denouement, leaving the issue of reconciliation unresolved.

In fact, the impact of the end appears tragic, because the strong points of one character highlight clearly the weaknesses in the other. A vivid example lies in their artistic abilities; Laura's forte in conceiving novel ideas complements María's dexterity in technique. A collaboration would prove beneficial to both artists; however, art becomes an unfortunate tool in fuelling their rivalry. Viewed by María as her muse, Laura will deny any participation in María's creative process. Truly, in terms of equity, Laura fears losing further leverage as María's talent will reap most of the profit. Actually, Laura's presence already begins inspiring the adept craftswoman.

Laura (Se coloca por detrás de la estatua y pone su mano en la jaula.)

Así

María A ver... Un poco más abajo.

Laura Así

María Espera. Abrázala fuerte. ¡Qué bonito! La mano en la jaula. Eso

es. No, no muevas los dedos... (Laura los mueve.) Los dedos

tensos. Más. A ver... (Coge un lápiz y comienza a dibujar. Laura

cambia la composición.) Un minuto... No te muevas. Déjame

verlo...

María No. Ni lo sueñes... Ni lo sueñes... (Se quita.)

Laura Yo que tú pondría una mano de plástico, o una mano de hierro.

Eso es, un garfio de pirata. (126)

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Laura's final reference to the unfinished statue and María's swift rebuttal underline the

role of Laura in María's work, the former demonstrating her skill vis-à-vis the latter's

self-declared superiority.

Laura Ah, las manos tienen que ser las de ella. No, no importa que no

tenga brazos... Es algo como... ¡Ya está! La figura en movimiento

hacia abajo intentando llegar a la cerradura con la boca. El pájaro

mirando hacia arriba con el pico abierto. La luz sólo por detrás, luz

blanca. Y en el suelo... trozos de cuerpo roto.... manchas... Es una

idea.

María Te odio. Te odio con toda mi alma. (145)

Besides art, the women's triangular relationship with Juan also binds the two characters.

Many renown critics have analyzed the control the third character holds over the two artists. "Un hombre ha sido el causante de todo por su egoísmo y falta de sinceridad.

Aunque su figura no llega a aparecer en escena, gravita sobre ella en toda la pieza"

(Serrano 62). Indeed, though haunted by the man for eight years, Laura rejects Juan at the play's conclusion, leading spectators to believe that the revelation of the marriage permits Laura to surmount her eight-year crisis. However, looking carefully at the scene, the character discards her former lover for his new status of attachment to María, not due

to a relinquishment of residual feeling.

Laura ¿Me dejarás verlo....?

María Claro. Tienes que ir esta misma noche.

[....]

María Adelante, es tu turno. Tal vez después del polvo te vuelva la

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inspiracíón.

Laura Nunca, cariño. Nunca tomaré nada que sea parte tuya. (Pausa.)

Gracias por prestarme tus ojitos para ver que no veían los míos.

(144)

Immediately, love transforms into strategy as Juan converts into María's possession, one more arm to brandish against Laura, who exits not out of chagrin, but awakens to the knowledge that María's zeal to control knows no bounds. Just as she rejects her antagonist's money, protection, art collaboration and love, now she must cast aside Juan to maintain her dignity and equity. Ultimately, all attempt at exchange must be discarded. Phyllis Zatlin characterizes El color de agosto as an ongoing chess match between two resolute players. Laura, realizing the dimensions of the game, chooses to abandon rather than lose. María might claim "Jaque mate" (143), but a chess partner is an enemy, not a friend, and losing is a submission to supremacy, the antithesis of friendship. Laura's perspicacity in grasping that image and game cannot supplant reality, she finally acknowledges the futility of an uncolored exchange with María. For friendship to develop, Laura needs balance, clarity, sincere compromise and affection;

María triumphantly makes use of tools for empowerment, image and play. Laura gains new insight into María's character, and her new self-awareness points to freedom from dysfunction. Likewise, though Laura's departure signals closure, the woman may have made the first step in her personal recovery.

Life has nothing to do with coercing, challenging or bullying anyone into

areas of feeling, perception or disclosure. The Gestalt view is for persons to

let go of their self or culturally induced ways of being dependent on others --

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and stand on their own. This way two or more persons can come together as

a meeting of equals for mutual benefit. (Stieckel 163)

Noches de amor efímero

Satisfactory temporary love?

In Noches de amor efímero, a compendium of five one-act sketches, Pedrero explores the dynamics of one-night stands: three vignettes deal with encounter and infatuation; two with the repercussions of such experiences. Structurally similar, each short play deals with two strangers meeting mostly in public areas (parks, metro, street) to produce a fleeting, albeit intense encounter in the dark, ending suddenly at the onset of lovemaking, sleeping, or both. In the case of the later sketches, one side of the couple strives to prolong the effects of the ephemeral night, provoking a climate of conflict and violence. In essence, Pedrero creates a set pattern in Noches de amor efímero: a first

reality, full of inhibitions and complications, gives way to a second more intimate reality,

achieved through disconnection (aided by alcohol, drugs, money and darkness) and then

reconnection (seduction and confession).

Solos esta noche; Carmen and José, locked all night in the Madrid subway, need each

other’s company to cope with the distressful situation. The female character, of a higher

social class, seems more agitated at first, obviously uncomfortable at engaging in

conversation with an unemployed working class man. The beginning of the sketch

resembles the vignette with the stranger in La isla amarilla describe before; Carmen in

normal circumstances would flee as she immediately mistrusts José, fearing robbery and

rape.

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Carmen (Muy asustada. Hablando muy deprisa.) No tengo nada. Me he

metido en el metro porque me he quedado sin dinero. Ni un duro,

te lo juro... Toma. (177)

The male character, for his part, succeeds in calming Carmen, first by coaxing her into talking about herself, then sharing stories from his own life, while constantly reassuring her, even after the lights go out. Indeed, José proves resourceful, generous and surprisingly attentive to the woman he just met. The couple shares a bottle of alcohol and cigarettes, and Carmen, totally at ease, finishes creating the ambiance for their union.

Disconnection and reconnection are easily procured in the ten-page play.

Carmen Dáme la mano. No me dejes sola. (185)

[....]

José Mira, Carmen, yo pienso que el futuro está en el amor, en que la

gente se quiera. (186)

[....]

¿Puedo ver tu tatuaje? (186)

[....]

Apaga la linterna. (187)

[....]

Que pase. Que pase el tren si llega. (187)

La noche dividida; Sabina, feeling abandoned by her French boyfriend, enthusiastically receives the visit of a bible salesman, Adolfo.

Sabina Pasa, hombre, pasa. No te cortes. Estoy completamente sola.

Esta casa desde ahora es también tu casa. Y este trozo de cielo, tu

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cielo, también. (162)

The woman’s intentions are multiple, to forget and break up with Jean-Luc, as well as to pour out her heart to someone, perhaps anyone, new. Sabina, though eager to connect with Adolfo, receives great opposition from the salesman who stubbornly keeps to his rehearsed agenda, fixed on the objective of making a commission. Indeed, disconnection and reconnection seem so improbable from Adolfo that Sabina forces the young man's hand by insisting he stay and drink champagne in exchange for buying a bible. "Al contado y te quedas. ¿No te parece suficiente para que perdamos la dignidad?" (162).

The deal concluded, the character is free to begin inebriating and seducing Adolfo, who

this time gives in willingly, providing Sabina with the love and assurance she seeks.

La noche que ilumina; Rosi, a battered wife reluctant to go to hospital or the police, phones her lawyer, Fran, for an emergency late night meeting in the park where she plans to sleep. Unable to convince the woman to report her husband, the characters engage in conversation and eventually take ecstasy, a mistake which triggers the couple to confide, reveal secrets and fears, bond and achieve intimacy.

The remaining two plays, De la noche al alba and Esta noche en el parque, deal with

second encounters sought out at later dates by characters with bitter-sweet memories of

the one-night stand. Undoubtedly relishing the prospect of prolonging the fleeting

moment, the protagonists finally realize, then resent, the impossibility of this feat. In the

first play, De la noche al alba, Mauro waits for Vanessa, a prostitute he met, fell in love

with and one day hopes to marry. Though seemingly making headway with Vanessa

towards the end, Mauro accepts quite reluctantly his status as client, even after the

woman states clearly her intentions.

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Mauro ¿No te acuerdas de la primera vez?

Vanessa No, no sé, creo que fue hace poco...

Mauro No pude decir tres palabras seguidas...

Vanessa Muy hablador ahí adentro no eres, no. En el fondo eres de los que

me gustan, calladitos y rápidos. (198)

Further, the prostitute describes her method of feigning interest with the men to encourage conversation, with the dual intent to kill time and create a faithful clientele base.

Finally, in regards to Esta noche en el parque, Yolanda schedules a meeting with

Fernando at the same park where they had previously had a sexual encounter. The

woman, misconstruing the one-night stand as a more meaningful experience, now takes

offense at her married lover’s game of seduction: "cena y forma de mentir" (152).

Fernando Sólo te conocía de un día. ¿Por qué me ibas a interesar?

Yolanda Entonces, ¿por qué me mentiste? ¿Por qué coño me dijiste que

era una mujer especial? ¿Por qué me trataste como si lo fuera?

¿Por qué me susurrabas Yolanda, Yolanda? ¡Párate y

contéstame!

Fernando Hice lo que sentía en ese momento. (155)

In contrast to the preceding play, Yolanda brandishes a knife to impede Fernando's

retreat, demanding her unattained orgasm (or symbolized promised happiness) from the

previous night. A compromise impossible, Fernando eventually wrests the knife away

and kills the female character. Iride Lamartina-Lens convincingly compares Esta noche

en el parque to the 1988 American film, Fatal Attraction: “Demuestra la desilusión

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profunda de una mujer al averiguar que la mutua atracción sexual había creado una

ilusión falsa de unión física y emocional por su parte” (López de Martínez 303).

In his study on social relationship, G. Levinger assigns three levels of intensity to

relationships, with long-term love or marriage depicted as the most difficult type of

relationship to achieve. The psychologists affirms that complete union produces not only

the benefits of more self-disclosure, but, on the flip side, also favors increased criticism

and control, and pressure for conformity to the other person's expectations. Levinger

believes “plus le développement d’une relation comporte une dimension conflictuelle,

dans la mesure où plus elle s’approfondit, plus elle tend à nier les différences et

l’expression de soi” (Fischer 45).51 In essence, a level three relationship requires more

patience and compromise, a greater implication into the partner's life and a surrender of

personal independence; in short, the antithesis of a one-night stand. In stark contrast to

these requirements, Spanish sociologists note consistently an unprecedented quest for

personal freedoms and a shunning of commitments in Spain. In accordance, Amando de

Miguel contends that Spaniards are living more outside the home than ever before,

preferring to flee domestic scenes where reproach and accountability could take root.

Apparently, as in the discothèque scene in La isla amarilla, Spanish youth take solace in

forging temporary relationships with strangers in situations not infringing on their real

life, posing no constraint. “En la sociedad española es posible que dos personas

conversen durante horas sin que realmente se conozcan, sin que sepan sus nombres

respectivos” (De Miguel 81).

51 The more a relationship deepens, the greater the possibility for developing conflicts, and the more likely differences and self-expression will tend to be denied.

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Malo de Molina conducted an extensive survey in 1999 revealing that 26% of

Madrileños admitted to multiple sexual partners, with 6% of men to frequenting

prostitutes, and 20% professing to promiscuity. (86) Pappano, Stieckel and Fromm all

address the issue of one-night stands in their respective studies. Where as Pappano

speaks of contemporary society's preference for "pornographic self-revelation" or

"desperate need for gratification," Stieckel develops his notion of the "zipless fuck."52

Indeed, for the first scholar, fleeting moments of passion become more commonplace in

contexts where long-term connection, closeness and understanding are systematically

denied53. As such, people lash out in search of a quick fix. "In the hunger for connection, we grab at all short-cuts, or quick ways to bond" (Pappano 167). Regarding Stieckel, the

gestalt therapist adds that individuals risk little in opening up to strangers since any

commitment is rejected. Therefore, the issues in relation building I have addressed in

this chapter suddenly become irrelevant; building a code of rules to guide future rapport

and the roles of each person as well as creating equity are unnecessary. Moreover, as

seen in Noches de amor efímero, the game of seduction is based largely on lies. A

scenario develops in which "fusion without integration" (Fromm 21) becomes the rule.

For the German philosopher, a one-night stand turns into an effective exercise in self-

deceit. Persuaded that integrated love is the universal need, Fromm suggests that a

sexual experience without love alters the psyche in a manner comparable to mind-

52 Stieckel believes that more individuals nowadays are in search of one-night stands with strangers with no strings attached whatsoever. Apparently, getting to know the sexual partner inevitably brings about complication, and loss of freedom. 53 For Pappano, in contemporary society it is increasingly more difficult to meet people, even more so maintain long-term relationships, thus making one-night stands the only alternative. Pedrero makes similar comments about her characters in Noches de amor efímero in "Autor, autor, una pasión," an interview for Spanish television: No soportan la soledad; pasan la vida solos; salen a la calle.... necesitan encontrar a alguien; se necesitan; no pueden con el desamor.

Taylor 125 enhancing drugs. "The sexual orgasm can produce a state similar to the one produced by a trance, or to the effects of certain drugs. It seems that after sex, man can go on for a time without suffering too much from his separateness" (11). Furthermore, the philosopher adds that ephemeral encounters tend to produce withdrawal symptoms akin to those of drug addiction. "Slowly the tension of anxiety [and loneliness] (re)mounts, and then is reduced again by a repeat performance," (11).

In conclusion, Pedrero addresses a relevant social issue in Noches de amor efímero. The desire of her characters to connect romantically is checked largely by their fear of commitment. Indeed, impasse occurs as both life without love and a responsible relationship seem unfathomable. A moment of fleeting passion in the night becomes the chosen method by Pedrero’s characters to reconcile the incompatible extremes through the processes of disconnection and reconnection. Nevertheless, in Noches de amor efïmero, the protagonists yearn to put off dawn but cannot find a new method for achieving long-term love without compromising their precious independence. Pedrero, as usual, does not propose another solution. Fromm, on the contrary, speaks of the need to distinguish “giving” and “giving up.” For the German philosopher, loving is giving freely, but not necessarily surrendering oneself. Indeed, this is one of the main goals of

Gestalt therapy, although "giving" is only part of the equation since self-awareness, interdependence and freedom for both partners prove essential. “[A one-night stand] becomes a desperate attempt to escape the anxiety engendered by separateness, and it results in an ever-increasing sense of separateness, since the sexual act without love never bridges the gap between human beings, except momentarily” (Fromm 12).

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In Paloma Pedrero's short life (born 1957), Spain has changed rapidly. The changes have been beneficial as the standards of living and enjoyment of life are greater than ever before. For instance, in 1957, Pedrero as a woman may never have been able to reach the level of success she enjoys today. Nevertheless, such swift social change has taken its toll as tradition social structures that supported the average citizen have largely disappeared, creating at least a bit of nostalgia for the past. The yearning for a return to

Paradise Lost in Isla Amarilla and the desire to partake in Gestalt therapy are a symptom of the author's nostalgia. To some extent, her characters would like to accept a past structure which would simplify their struggles at forming and maintaining bonds.

Nevertheless, turning back time would also hinder their personal development: for example, Maria, as a traditional housewife, would not have triumphed in the art world.

Likewise, Pedro would play the unhappy husband, Rosa would fake harmony, and Reyes would accept Olegario's vision for her, and Olegario would feign not knowing that neither is unhappy. Maybe Laura and Maria could be equal comrades, equally submitted to their bourgeois husbands. Perhaps, Cachorro and Surcos could achieve friendship, and wouldn't desire to victimize each other. Further, the characters in Noches de amor efimero would not find it necessary to accept mediocre one-night stands as a substitute for intimacy. However, except for Ada and Segundo, Pedrero's characters live with the ideas of the 21st century, and have been moulded in that fashion. Approaching the other is daunting, they lack the know-how to do so. Creating new codes, equity and harmony are challenging, but necessary. However, Pedrero's characters resort to role-play or escapism to lower their inhibitions and fears. Pedrero gives food for thought to her audience. She doesn't have the answer yet, just procures to make her public aware of the

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Chapter 3

The pathology of reception

"El teatro no debe entretener"

In a 1997 interview for a Costa Rican magazine, Viva, Pedrero spoke candidly about her theater: "El teatro no debe entretener, sino conmover, divertir en el sentido profundo para que la gente tenga una experiencia interior." In a similar interview for

Primer Acto, she informs that "el teatro debe ser un territorio de libertad y agitación"

(Villán 59). In her works, the playwright clearly aims to unsettle her spectators by coaxing them into questioning certain values or truths that they have taken for granted.54

For Pedrero, the total theater experience must have a lasting effect on the individual: "A

lo que aspiro con mi trabajo en concreto, y ya soñando con ese "espectáculo total" sería a

llegar a los planos emocional, intelectual y espiritual del espectador" (Ladra 21).

Moreover, in her article "Lo que mueve a la palabra," Pedrero contrasts the objective of

her works with that of contemporary television broadcasts: "La televisión, el mayor y

más visitado escaparate de la sociedad, está empeñada en dar alimento para gorriones e

inválidos mentales. Así que llena las horas con programas para corazones fatales,

concursos para idiotas, series para descerebrados y poco más" (Pedrero 17). The

playwright informs Phyllis Zatlin that television programs, though often entertaining,

suppress the three key issues she tackles in her work: "el triunfo y el fracaso, la ceguera,

y el amor y el desamor" (Sobre mi teatro 25); in short, the pathology due to

54 As seen in Chapter 1, in La isla amarilla, Pedrero systematically creates an atmosphere of subtle social criticism for the audience to reflect upon and react against in their own way.

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marginalization, contemporary consumerism and miscommunication I have addressed in

previous chapters. Clearly, Pedrero's theater is not geared to the passive spectator in search of distraction or amusement. On the contrary, the spectator needs to perform an active role in deducing both the plot and any social lesson. As previously mentioned,

Pedrero's theater lacks explicit didactic messages for her public -- she proposes brief glimpses into the lives of her characters and leaves her endings unresolved. By widening the scope beyond the confines of her play, the author invites the spectators to imagine what might happen next. Whether viewers opt for an optimist or pessimistic view of the finale, they must reflect before making that final informed judgment.55 Pedrero informs:

"Cada uno filtra y entiende a su manera" (Autor, autor, una pasión). The author reiterates

in numerous interviews that her theater neither bears a precise meaning nor seeks an

explicit collective response: "No quiero reivindicar nada. Lo que quiero,

fundamentalmente, es expresarme.... Conscientemente no quiero expresar una ideología"

(Galán 12). The dramatist sees her work rather as a three-way enunciation between

author (palabra), play (acción) and audience (imagen) (Sobre mi teatro 28).

Nevertheless, she does occasionally admit to a secret desire to spur social change:

"Siempre soñé con transformar el mundo. Este canalla e injusto mundo que nos abraza.

Sé que poco puedo hacer al respecto" (28), but declares that the main objective of her

55 In a recent essay "Sobre mi teatro" published in Estreno in 1999, Pedrero speaks of her writing process. "Miro y escucho porque ese es mi oficio....El lenguaje será entonces su lenguaje....[Entro] en su cuerpo, en su lenguaje.... En mi caso por una vocación profunda de intentar comprender lo que les pasa a los otros y a mí misma....Es la empatía.... la capacidad de ponerte en el otro. Ser el otro. Identificarte con la maldad o la bondad del extraño. Se trata de superar la perplejidad que el otro te provoca para ir, poco a poco, penetrando en su pensamiento, en su movimiento, en su sentir. El autor o autora de teatro, mientras escribe, ha de transformarse en los personajes hasta perder su identidad.... " (26-7). Similarly, the playwright asks her audience to adopt the same model when viewing her plays. By identifying with the characters and empathizing with their plight and conflicts, the spectator gains critical insight into the situation at hand, a deeper knowledge of him/herself and a new perspectives on his/her society.

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work remains, nonetheless, communicating with her public and inspiring meditation or

change on a more individual level: "Me interesa más el ser humano que el ser social. La

transformación individual es la que puede transformar el mundo y la sociedad" (Galán

12).

In consequence, Pedrero's theater proves demanding for the average spectator

conditioned to the types of entertainment offered by the mass media. Not only must

audience members be susceptible to the complex and serious subject matter,56 but must

willingly undertake the task of unraveling the many different levels of her psychodramas.

Further, Pedrero's theater favors verbal exchange and relegates action to a minor role: for

example, the spectator often joins an intimate dialogue already in progress which turns

into the focus of the entire play. Pedrero's sets also tend towards simplicity (a table and

two chairs suffice) again with the goal of maximizing the spoken word. "Hay que volver

al hecho teatral puro, a la palabra, al actor, un poco de luz y el autor" (Johnson 19). As a

result, critics and theater-goers hold widely divergent opinions on her works. In Spanish

Women Writers, Iride Lamartina-Lens documents a "polarization of critical perception,

often characterized by age and gender" (393). Patricia O'Connor, in Dramaturgas

españolas de hoy, also speaks in particular of the Spanish critics' response to La llamada

de Lauren: "La audiencia femenina reaccionó favorablemente, mientras la masculina mostró malestar y aprensión" (47).57 Nevertheless, the increased number of studies and

56 marginalized lifestyles, alternative sexual practices, infidelity, dysfunctional families, nazism, violence, hatred, euthanasia, drug abuse, tragic conflicts, solitude.... 57 Francisco Álvaro labeled La llamada de Lauren, uninteresting, boring, extravagant and obscene (216), while Fernando Lázaro Carreter praised her dramatic talent and potential (393). The same diversity in opinion has continued in the 1990's with Noches de amor efímero. While receiving international acclaim and translation into several languages, the outspoken Madrid critic Eduardo Haro Teglen simultaneously qualifies the play as trivial, unimportant and entitles his review "Orgasmos perdidos y hallados" (Leonard

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articles published on her works in several countries attest to a growing following in

academic circles. Indeed, the playwright has earned an impressive number of prestigious

awards such as the "Tirso de Molina National Theater Award" in 1987 for Invierno de

una luna alegre and Best Writer of the VI Muestra Alternativa de Teatro del Festival de

Otoño de Madrid in 1994 (Leonard 344).58 Pedrero recognizes the challenges of reaching

a larger population base but refuses to compromise her style or subject matter:

Surge el tema de a quién o con quién se va a comunicar.... [Lo esencial es]

la búsqueda de la autenticidad, aunque eso implique llegar a un veinte por

cien de la gente a la que querríamos implicar... pero en el momento en que

te planteas llegar a una mayoría, qué tienes que escribir para ello, estás

manipulando, distorsionando tu creación.... Me sigue sorprendiendo la

reacción del público ante las cosas que hago, nunca sé, si mi trabajo va a

conectar con tres o con cincuenta mil. Lo único que intento es ser auténtica

con mi teatro. (Ladra 22).

Indeed, the word "authenticity" proves decisive for a complete grasp of Pedrero's work.

First, the playwright recreates the authentic spirit of Madrid in her works:

contemporary discourse, hyperreal situations, numerous cultural and social references

appeal to young theater-goers. Second, Pedrero feels an urgent need to share her

opinions and doubts on the pertinent issues concerning large segments of her city's

population. Third, the writer crafts her plays scrupulously, making use of both classical

344) 58 Recently (October 2004) the Madrid debut of one of Pedrero's latest works "En el túnel un pájaro" received great acclaim in Madrid, with full house and standing ovations. (personal conversation with Patricia O'Connor)

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and innovative techniques to convey her ideas as well as capture the attention of her

audience to create the degree of introspection necessary for a greater (self) awareness.

Sociology and theater, thus, remain inseparable in Pedrero's quest for authenticity;

whereas the former influences the content of her plays, the latter becomes the vehicle

for expressing her views.

Structural influences

Having analyzed the social elements of Pedrero's plays in previous chapters, I

plan to turn my attention now toward the form and structure of her plays. Parallel to her

studies in sociology, theater became a part of the artist's life from a very young age.59 In

her interview with Eduardo Galán, Pedrero informs that she started acting by age 14,

forming a neighborhood group, Cachivache, and later studied acting, writing and

directing with renown professors such as Zulema Katz, Dominic de Facio and Alberto

Wainer (11). In addition, the playwright also accredits Antonio Buero Vallejo for

awakening her interest in popular drama: "la profundidad dramática de lo cotidiano"

(De Paco 214).60 Unmistakably, Buero's imprint can be seen in Pedrero's theater: i.e.

her realist style, her depiction of marginalized people, leitmotifs such as blindness, as

59 Pedrero states in Sobre mi teatro: "Mi vocación teatral fue muy temprana....ya hacía mis pinitos con la interpretación. Los fines de semana montaba pequeños espectáculos con mi hermano...y mis tres primos, a los que dirigía sin piedad.... Así que con papelitos cortados hacía boletos, colocaba las sillas frente al escenario en el salón, me ponía en la puerta, y hala, una peseta por pariente....Tal vez lo de hacer teatro fue algo que se me ocurrió para hacerme visible. Tal vez pensaba: ´ahora todos me mirarán durante diez minutos.'" 60 "La primera vez que fui a un teatro de verdad, mi primer recuerdo nítido sobre un escenario grande, hermoso, bien iluminado, se remonta a los años 70. Sobre aquel escenario ponían una obra de Antonio Buero Vallejo, La fundación. No sabía yo en aquel entonces quien era el autor de aquella impresionante historia que me dejó temblando intensos minutos después del final. Sólo sabía que aquello que mis ojos adolescentes habían visto era lo más parecido al universo mágico de mis deseos. Aquella tarde, desde una de las últimas filas del gallinero, sentí tantas y tan hondas emociones que nunca más pude desligarme del mundo del teatro y sus autores vivos" (Pienso en Buero 81 in De Paco 214).

Taylor 133 well as her characters' search for truth and identity. Likewise, the author also mentions

Tennessee Williams, Chekhov, Ibsen and García Lorca as possible influences on her style (Galán 11); each of these playwright mastered the art of suspense and trickery, withheld key bits of information from the audience, and elaborated well orchestrated dramas with astonishing finales. Further, Virtudes Serrano remarks echoes of Fermín

Cabal and Alonso de Santos specifically on Pedrero's form:

la vuelta a las fórmulas de ruptura así como la utilización de procedimientos

metateatrales en los que se funden persona y personaje en un constante

juego ser-parecer, la implicación del público en la historia, funcionando ésta

ora como elemento de distancia, ora de participación; la presencia de

mundos subconscientes que confunden el lugar y el tiempo en el que se

desarrollan las acciones... (Pedrero 24)

The alientation effect of Bertold Brecht coincides with Serrano's comments on fluctuating distance in Pedrero's plays. The German theorist believed that, in lieu of emotional involvement in the play, the writer needs to distance spectators from the plot so that they may clearly deduce for themselves a social lesson. Wright explains in his manual, Para entender el teatro actual: "Brecht estaba a favor del desaprego -- cierta indiferencia emocional -- para que el público pudiera obtener placer en entender lo que estaba viendo, en lugar de sentirlo" (150). While Pedrero obviously desires that her audience take stock of the social dimensions of her plays, she also aspires for the empathy, communion or heightened state of emotion that only intense identification with protagonists can bring. An attempt to integrate the advantages of both concepts may explain, in part, the artist's manipulation of distance throughout the course of a

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given play. Finally, and of great importance, the dramatist herself mentions repeatedly

her attachment to the precepts of Aristotelian theater (8x): for example, in referring to

La isla amarilla, Pedrero declares specifically: "[Esta] no es una obra con una

estructura aristotélica que suelo emplear" (Harris 34). In an interview with Alicia

Mingo for TeleMadrid she goes even further: "Yo trato de ser lo más aristotélica

posible, porque creo que estaba muy bien como explicaba Aristóteles la manera en que

se debía escribir las obras dramáticas." Indeed, the writer faithfully employs a classical

framework -- introductory scene, presentation of conflict, peripeteia, climax and

denouement -- as well as applies many of Aristotle's dramatic conventions to her work -

-unities of time, place and action, mimesis, hamartia, archetypal symbolism and

catharsis.

In the following section, I plan to examine the structure, form and style of Pedrero's

latest play, En la otra habitación, detailing how the playwright makes use of the

aforementioned devices to connect with her audiences and transmit her thoughts on

contemporary mores.

En la otra habitación

Overview

The structure of En la otra habitación closely parallels Aristotelian theory.61

61 My quotes on the philosophy of Aristotle and Brecht come indirectly through several sources: The Art of Drama by Allardyce Nicoll; Para comprender el teatro actual by Edward A. Wright; L'analyse du texte de théâtre by Michel Pruner; Le théâtre: Texte, Dramaturgie, Histoire by Alain Couprie; Le dictionnaire du théâtre by Patrice Pavis as well as various Pedrero interviews.

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From the outset, mimesis (imitation) plays a crucial role in this play as the audience recognizes immediately the dynamics of a typical twenty-first century family in which a conflict ensues between a mother and her adolescent daughter. The language used is colloquial Madrileño yet of a slightly higher register indicating the upper social echelon of the protagonists. Similarly the protagonist's costumes echo contemporary

Spanish fashion (short skirts, dark colors) with the stage setting containing ordinary furniture (desk, chair, table, kitchenette) found in any studio dormitory. Paula (the mother) listens to popular music, undefined by the author, situating the drama clearly in the present.

The aim of the true dramatist ought to be the providing on the stage of as

faithful a replica as may be of a scene which either has actually occurred

or has been conceived in such terms as to make it lifelike; the dialogue of

that drama will be the finest which introduces an almost exact

phonographic reproduction of real conversation among living persons; and

the greatest beauty of the play will be its faithfulness to reality. (Nicoll 24)

The authenticity of Pedrero's two-character drama, thus, mirrors the world of her spectators and works to establish a comfortable stage audience relationship. In the same vain, the three unities (time, space and action) concur with the author's intent to fashion a hyperreal environment. Aristotle states that "fictional action should be restricted to a length of time roughly the same as that taken up by the performance of the play on the stage....and we should restrict the place of the fictional action to one locality" (Nicoll

39-40). The numerous temporal indicators in En la otra habitación (references to the clock, the beginning and end of a thunderstorm) point to a one-hour performance which

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coincides with the play's realistic time duration. Moreover, the episode takes place

entirely within Amanda's garret apartment, with no scene change nor interruption of

dialogue. Michel Pruner reveals that the Greek philosopher insisted on one core action

per drama, devoid of artificial pauses or fragmentations such as acts or scene changes62:

"La tradition grecque ne connaît pas de segmentation, les différents épisodes de la tragédie étant seulement séparés parfois par les interventions du choeur" (Pruner 39).63

Consequently, a single action characterizes En la otra habitación, and focuses entirely on the circumstances surrounding Amanda's surprise entry and imminent exit from stage. Indeed, the author makes no effort to conceal this straightforward plan of action, the only uncertainty lies in deducing the motives for her sudden arrival and conceptualizing the manner, moment or impact of her departure. In speaking of her writing process, Pedrero reveals her intent to incorporate these classical unities: "Es a través de la acción por donde ha de cabalgar el drama. Por un acontecer sencillo y extraordinario. Porque creo que sólo desde lo más sencillo se llega a lo más original"

(Sobre mi teatro 27). While the dramatist does enrich the plot by hinting to certain secondary actions which occur/occurred/will occur outside the scope of the play's inner structure, she always connects them succinctly to the present mother/daughter conflict.64

Whereas many young Spanish playwrights advocate more experimental or postmodern

techniques in playwriting, Pedrero staunchly defends her classical structure:

62 Pruner alleges that acts, intermissions and tableaux began in Roman theater with Seneca and became commonplace only during the Renaissance. 63 Separations are unknown in Greek tradition, the episodes of the Greek tragedy are separated at times only by the intervention of the khoros. 64 The side plots in En la otra habitación --as in the author's other plays -- are much more important than the primary action and have their inspiration in Gestalt therapy. The women are to reevaluate their mother/daughter relationship by confronting their problematic common past. Recovery in the present is only possible after purging the hard feeling of past conflict.

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In a forum on alternative theater:65

David Ladra - Desde los griegos hasta los románticos.... se planteaba una

situación, se resolvía y se le daba un final "ad hoc". El autor

confiaba en manipular de la manera correcta para convencer

y así, con un poco de suerte -- hablemos de tiempos no muy

lejanos --, a lo mejor salían todos los espectadores cantando

"La Internacional".

Paloma Pedrero - Quisiera hacer un inciso. Me parece que también dentro

de un esquema formal aristotélico se puede ser perfectamente

auténtico, así como en una forma aparentemente renovadora

se puede ser muy falso. (Ladra 23)

The linear form of En la otra habitación (60 pages) clearly follows the well-

balanced classical model: exposition (introduction) pp 1-14, nodus (entaglement) pp

14-28, peripety (turning point) , pp 28-42, dénouement (disentaglement) with catharsis

pp 43-55 and double dénouement (tragic conclusion) pp 55-60 (Couprie 34-8).

I. Exposition

"L´exposition constitue une convention dramatique qui

pose sur les bases de l´action. Au spectateur qui ignore

ce qu´il va voir, elle précise les données du conflit: évocation

65 "Conversación con el teatro alternativo: teatro y realidad" published in Primer Acto in April 1993. Pedrero discussed and debated trends in contemporary alternative theater with David Ladra, Luis Araujo, Alfonso Pindado, Carlos Marquerie and Eduardo Galán.

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du passé, présentation des protagonistes, état de la situation" (Pruner 32).66

Hans Robert Jauss believes that in addition to supplying the audience with the

pertinent clues surrounding the future plot, writers need to take into account its

collective expectations for the play when crafting their dramatic works. The scholar's

theory known as "the horizon of expectations" shows that that spectator's outlook

conditions his/her response to the theater even before action begins: "L'horizon

d'attentes d'une oeuvre, c´est l'ensemble des expectatives de son public, étant donné sa

situation concrète, la place de la pièce dans la tradition littéraire et le goût de

l´époque.... Il faut rajouter ses attentes personnelles, ce qu'il sait de l'auteur, du cadre, du

titre, de sa bienséance...." (Pavis 46).67 Therefore, the first moments of the play prove vital. Mayo Simon in The Audience and the Playwright speaks of the urgency to woo

the spectator: "The desire of the audience is to understand" (22); "The playwright must

give you the knowledge that puts you in a privileged place" (63). As Jauss, she states

that the writer must connect with the audience by making allusion to "common held

beliefs68 and collective memory69" as well as advancing information about the context

and the protagonists "to create anticipation, hopes and fears, and one powerful desire to

know more" (16). Moreover, Couprie underscores the timing factor in arousing this

interest:

66 The exposition constitutes a dramatic convention that establishes a sound basic knowledge of the plot. For the spectator who does not know what he is going to see, it specifies information about the conflict:an evoking of the past, an introduction of the protagonists, the state of the situation. 67 "The horizon of expectations" of a dramatic work deals with all the audience's assumptions concerning the work as a whole, including the exact context, its place in literary tradition as well as the tastes/ fashion of the moment.... then one must add personal expectations, what one knows about the author, the setting, the title, the decorum... 68 "natural ties that bind: families, love, marriage, friendship, commitment" (21) 69 shared history and culture, intertextualities (22)

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Pour mieux piquer la curiosité des spectateurs, les auteurs de l'antiquité

savaient distiller lentement les informations nécessaires à la compréhension

de l'intrigue. Mais qu'elle fût ou non brève, l'exposition se devait d'éviter

deux écueils: le statisme, préjudiciable à l'intérêt dramatique, et, à l'inverse,

une trop grande rapidité, qui eût rendu l'action difficile à suivre. Pour

pallier ces difficultés; l'action débute in medias res. (Couprie 34)70

In summary, commencing the action at once while simultaneously transmitting and

withholding bits of background information within a definite timeframe seems to be the

secret for creating suspense and interaction with the audience.

Pedrero's spectator must begin his role of detective even before the curtain

rises.71 The title En la otra habitación already indicates key elements about the nature

of the play: action will likely occur within a confined space removed from the normal

point of contact. The mechanisms of the horizon of expectations in progress, the

audience wonders what will take place in the mysterious bedroom... "L'espace

dramatique joue de l'opposition entre lieux fermés et lieux ouverts. Le premier renvoie

toujours à un espace de la cruauté. Le huis clos d'un espace sans communication avec

l'extérieur favorise les affrontements et les tensions" (Pruner 54).72 Many theater-goers

70 In order to arouse the curiosity of the spectators, the classic authors knew how to ferment and slowly dish out the information needed to understand the intrigue. But whether the exposition is short or not, two stumbling blocks must be avoided; a slow pace, harmful for creating dramatic interest, or, quite the opposite, too quick of a pace, which makes the action difficult to follow. To offset these obstacles; the action begins in medias res. 71 En la otra habitación is a manuscript that has yet to be staged or published. Feedback from an authentic audience response is lacking. 72 The dramatic setting plays with the opposition between closed places and open places. The first one always refers to a space of cruelty. A space behind close doors without communication with the outside favors confrontations and tensions.

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will also acquaint the title with other renown pieces of literature (i.e. Carmen Martín

Gaite´s El cuarto de atrás); moreover, those already familiar with Pedrero's work may

recall Ana's magical refuge from reality in Besos de lobo or María's artist studio in El

color de agosto where a violent confrontation takes form between two women in a

love/hate relationship. Further, the program handed out in the theater also leads the

public to believe that the two-character play (two women actresses playing the roles of

Amanda and Paula) may result in a similar conflict. Michelle Wender states in Finding

a Voice: "women are accustomed to dealing with conflict in the privacy of the home --

behind closed doors -- and within relationships between individuals, rather than in

larger groups" (227). Reinforcing the idea of a forthcoming clash, the first image the

spectator sees is a flash of lightening: Pedrero indicates: "Buhardilla.... Por la

claraboya se cuela una luz de atardecer atormentoso" (2). Suddenly, Amanda enters

the room, seemingly claiming the space as her own: "¿Hay alguien? ¿Quién anda

aquí?.... ¿Qué haces?" (2). As Paula appears startled from the bathroom, the stark

contrast between the two women becomes apparent: Amanda (muy joven, gordita....

No va arreglada.); Paula (cuarenta años...delgada y atractiva... pelo largo y suelto y un

vestido adolescente que la queda muy bien) (2). Physically, Paula overshadows

Amanda, approaching the contemporary ideal of feminine beauty, elegance and poise.73

Suspense lingers as the characters stare at one another in silence. Imperative for the development of the future intrigue; the playwright makes use of this pause to implant the idea at an early stage that each woman will be the antithesis of the other. When

73 Amando de Miguel in Los españoles -- sociología de la vida cotidiana documents a trend in contemporary Spain to place ever more emphasis in personal image. "El culto al cuerpo es una verdadera obsesión nacional" (119).

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dialogue commences, their personalities and beliefs also seem to differ sharply;

Amanda remains calm, rational and traditional; Paula nervous, emotional and worldly.

Indeed, the stunning realization that the two are mother and daughter takes the audience

aback and forces them to reconcile their cultural biases74 with the reality on stage.

Un personnage théâtral intervient par rapport à autrui et n'existe que par la

confrontation avec d'autres personnages qui lui donnent sa signification....

Très souvent les personnages procèdent par couple.... d'un lien parental...:

mère/fille.... L'individualité de chacun se contruit à partir des traits

différentiels qui définissent ces relations avec l'autre. Il est toujours utile de

repérer les ressemblances et les oppositions existant entre eux. (75-6)75

Pedrero produces an initial comic effect by reversing the roles; Amanda demands a

justification for her mother's presence since she has surprised her mother breaking pre-

established rules: "Me habías prometido no subir a mi buhardilla. Joder, mamá, te

voy a quitar las llaves" (2). Simon informs that playwrights often use humor at the

beginning of the play to create a baseline for introducing much more solemn issues

later: "Plays often begin with something funny... The playwright doesn't want you to

laugh at the serious. So if he can get you to recognize comedy at the beginning, then

when he gets sober you'll definitely see the contrast" (68). Pedrero, thus, prepares the

74 the way they perceive that a normal relationship between a mother and daughter should function, the inversion of prescribe norms for the different age groups, the youthful appearance of Paula versus the failure of her adolescent daughter to comply with cultural norms/aesthetic of the young culture. 75 In theater, a character receives his stage identity only from his rapport (conflicts, arguments) with the other characters. These interactions/reactions give him his existence and his significance.... Quite often characters are coupled.... i.e. by a family link, like a mother and a daughter.... The individuality of each [character] is built from the differential character traits that define this relationship with that other person. It is always useful to spot the similarities and contrasts that exist between them.

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terrain for an eventual revaluation of the mother/daughter role in the new social order.

Timur Djordjadze, director of Pedrero’s play El color de agosto, comments on

Pedrero’s use of humor: “Parts of the text which we would first interpret as funny,

light, and charming suddenly would develop darker sado-masochistic meaning, and

vice-versa” (Zatlin 59).

At this point, it is essential to distinguish three different components of

Aristotelian structure: 1) the fable; 2) the action; and 3) the plot. In the first case, Pavis

identifies the fable as an intimate dialogue between playwright and audience by which a

broader meaning or lesson transcends the physical action on stage (Pavis 169-70).76

Pedrero's fables take on the form of implicit archetypes: "L'intérêt de ces types est de

dépasser largement le cadre étroit de leurs situations particulières... pour s'élever à un

modèle universel" (Pavis 42).77 The dramatist herself qualifies her characters as

archetypes (Zatlin 7).78 In such a manner, Paula and Amanda come to symbolize a

whole type of middle class family whose obsession with success and material gain

devastates normal development in children.79 In the second case, as previously noted,

the action deals with the chronological events taking place on stage (the interior space)

(Couprie 32), and at this juncture is limited to two unilateral discourses: Paula means to

76 Pavis affirms that the name fable stems from the fact that the Greeks frequently used myths to impart lessons in morality in their dramas. Since mimesis implies a reproduction of daily existence, these fables were often explicit. Bertold Brecht added the element of social criticism and the notion that the "fable" should advocate specific changes in behavior both on a personal and a collective level. (Pavis 168-78). Brecht's will be introduced in part three. 77 The interest of these character types is to go well beyond the narrow confines of their particular situations.... to be elevated to a universal model. 78 In chapter one I addressed Pedrero's earlier plays in which protagonists embodied the qualities of certain types of marginalized people. The author depicts them as widespread character types (archetypes) found throughout Madrid's streets. 79 Consequently, this is also the fable of Cachorros de negro mirar and several vignettes of La isla amarilla.

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eject her daughter from the apartment by any possible means with Amanda thwarting

her mother's intent by actively resisting, demanding justification and moving rapidly

throughout the room or sitting far away from the door. In the exposition, Paula asks

Amanda to leave eight times: i.e. "Amanda, lárgate" (10). The spectator witnesses a

struggle between two strong-willed characters and questions who will surrender. The

action at this point seems simple: the battle for the "other room". Finally, in the third

case, the plot incorporates all outside material relevant to the present conflict (i.e. the

characters' remote and immediate past) as well as the many unknown actions occurring

in the exterior space (through the window, in the street, in the apartment below, the

telephone caller, the characters absent from the play, the relationship between

protagonists). Pruner informs that the plot is "l'agencement des éléments et des

événements qui fournit la trame dynamique. Déterminer l'intrigue d'une pièce, c'est

donc repérer tous les mécanismes qui font progresser le conflit dramatique" (32).80 The

three components perform diverse functions but converge in Pedrero's work to create

meaning for the spectator. The action (dominated by Paula) determines the plot

(orchestrated by Amanda) which gives insight into the fable (caused by these exterior

elements).

The mechanisms of Pedrero's introduction serve to establish a strong

identification with Amanda who suffers because of her mother's rejection (first side

plot). Paula appears unconcerned with the motives of Amanda's unexpected return from

Paris, even when the daughter insinuates that she came back to meet a mysterious

80 [the plot is] the arrangement of the elements and events that provide the dynamic framework. Working out the intrigue of a play, is to take stock of all the mechanisms that advance the drama's conflict.

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(older) man (5)... her first suitor (6)... in her apartment (6)... to have sexual relations (8)

for the first time (9)... Though the daughter requests explicitly her mother's opinion and

guidance on the matter, Paula refuses categorically: "No puedo ejercer de madre ahora"

(9).

Amanda -- Sólo quiero que hablemos un rato

Paula -- Voy a pintarme. (9)

Paula, in turn, uses many devices to draw attention to her authority or superiority, with the goal of distancing Amanda from the apartment; the most notable example is financial control: "Te di ciento ochenta euros para un tren" (2); "Nunca subo a cotillear tu estudio, o sea, mi estudio. Te recuerdo que lo compré yo" (3); "Vete a gastarte la pasta que te di ayer. Te la regalo" (3); "Te di treinta mil pesetas..." (4); "Está bien, le esperas en el portal y os vais a cenar. (Abre su bolso y la da unos billetes) Toma, yo os

invito" (5). She begrudgingly speaks of her rendez-vous (4)... tryst (6)... with a student

(9) Mario (10) only when it becomes apparent that Amanda will not leave without

knowing the truth (second side plot): "Estoy hablando contigo a mi pesar" (7). Paula

never losing sight of her goal, even tries making a pact with her daughter.

Paula -- ¿A qué hora has quedado tú?

Amanda -- A... las nueve

Paula -- Yo a menos cuarto. Ya ves, hija, tengo preferencia. Vete. (7)

It is essential to reiterate that Pedrero constructs both side plots gradually and simultaneously to create the maximum dramatic effect for the spectator who must work out the truth concerning each woman. Pruner identifies this technique as pièce-paysage

(landscape dramaturgy), invented by Chekhov in the nineteenth century.

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Dans la pièce-paysage, il n'y a pas d'exposition préalable d'une situation:

celle-ci émerge peu à peu, comme on découvre un paysage avec tous les

composants du relief: notamment les thèmes, mais aussi les idées, les

sentiments, les traits de caractère, les bribes d'histoire, les fragments du

passé qui se font jour. (38)81

Indeed, the dialogue is slow and evasive, abounding in repetition and interruption. The

viewer of the play must work to pick through the dialogue to seize the facts:

Amanda -- No me digas que tienes una cita.

Paula -- No.

Amanda -- Una cita con un hombre.

Paula -- No. (4)

[....]

Paula -- (Parándose en seco) Es Mario Sánchez.

Amanda -- ¿Mario Sánchez?

Paula -- Sí

Amanda -- ¿El alumno de tercera de Dirección?

Paula -- Sí

Amanda -- ¿El gilipollas de tercera de Dirección?

Paula -- Amanda, no es gilipollas. (10)

Pruner informs that dramatic repetitions clearly indicate character obsessions (108),

81 In the pièce-paysages, there is no preliminary introduction to a situation, it emerges little by little, like one discovers a landscape with all the various elements of its relief: notably the themes, but also the ideas, the feelings, the character traits, the bits of the story, the fragments of the past that slowly become clear.

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Paula anxious to hide as much information as possible regarding her liaison, Amanda determined to force communication with her mother as well as find out the whole truth of the matter. Interruptions in dialogue, on the contrary, function to affirm power or trivialize the other character's point of view (107):

Paula -- Tú tienes dieciocho años y todo el tiempo del mundo para mostrar

tu intimidad a ese amigo. Pero yo...

Amanda -- No es un amigo cualquiera, madre. Es... es un sueño...

Paula -- Mejor, debajo de un paraguas se sueña mejor. (6)

Thus, Paula's discourse highlights both her disregard for her daughter's sentiments in addition to reasserting her power over Amanda and desire for the girl to exit.

The fable, reinforced by the side plots, clearly portrays Paula as the kind of mother women should not emulate. Moreover, the character firmly renounces her maternal role and instincts: "No me llames madre. Ya sabes que no me gusta" (4).

Amanda draws attention consistently to her mother's egoism: "Lo mío te importa una mierda" (7); "tu siempre hablando con tu ombligo" (8). Whether insincere or hypocritic, Paula contradicts herself. After admitting to her preparation for a one-night stand, she tells her daughter: "A los hombres hay que hacerlos esperar.... Hija, en la primera cita a solas no debes llegar a la cama. Es mejor un paseo, una charla romántica... ¿Por qué no os vais a bailar?" (8). Despite an attempt to communicate with her daughter, the public obviously realizes that Paula's intent still remains the same: the removal of Amanda from the flat. When Amanda brings up ethical issues such as the subject of adultery, the teacher/student relationship or the invasion of her intimate space

(bed), Paula retorts dryly: "Cómo puedes ser tan reaccionaria. Eso no es lo que te

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inculqué" (14). The mention of Alvaro, the husband/father, terrorizes Paula since she

orchestrates the date to be brief and ephemeral.

Amanda -- Pero, madre, si papá es un buen tipo. De verdad, no hay muchos

como él.

Paula -- ¿Tú crees? Bueno, tampoco he dicho que vaya a dejarlo. Voy a

probar, Amanda. Necesito vivir esta histora. Por favor, cielo,

márchate.

By the end of the first section, the spectator believes to have learned all the elements

necessary for an approach to the rest of the play. The audience grows suspicious about

the emerging plot and restless as the clock reveals that Mario will arrive in just ten

minutes. How will the protagonists solve the problem? What other information has

Paula hidden? Furthermore, identification with Amanda proves complete at every

level:82 (scenic -- the studio belongs to Amanda not Paula); (dramatic -- Amanda

develops into the tragic victim of an unfit mother and wife); (cognitive -- the spectator

and Amanda unravel the story of Paula's infidelity at the same time and respond with

similar disgust); rational (Amanda proves to be a voice of reason and normality

whereas Paula lies and manipulates) and affective (in contrast to Paula's hysteria she

remains calm but terribly hurt) (Pruner 87).

II. Nodus

82 Pruner claims that five elements must be present in classical drama for an audience to identify strongly with one character rather than another: les facteurs scéniques (personal terrain), les facteurs dramatiques (identification with a given situation), les facteurs cognifs (shared point of view of story), les facteurs rationels (coherence) and les facteurs affectifs (subjective emotional response) (88-90).

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Les fils exposés, il s'agit alors de les nouer pour créer le conflit.

Le noued est la relation entre la volonté d'un personnage

(son désir, ses passions) et les obstacles qui s'opposent à sa concrétisation.

Sans obstacles, pas de noeud en effet. (Couprie 35)83

The nodus begins with a sudden change of focus from the plot and fable to the

play's action: "De acuerdo, te prometo que cuando suene el telefonillo de la calle me

voy" (14). The dreaded conflict seems unexpectedly resolved with no novel action to

replace it. What does this early solution connote? Unbeknown to the audience (and

Paula), no further tangible action will develop; however, both will spend the remainder

of the play imagining and anticipating possible scenarios that will never materialize.

The effect of Amanda's submission disarms Paula. Thus far, the active character has

focused her energy on victory over the antagonist (her daughter) for possession of the

"other room", her one and only objective. Now deprived of a nemesis and a clear course

of action, the woman lets her guard down. She can no longer find a reason to oppose

her daughter's presence and must concede to a dialogue. Strangely enough, Paula's

triumph signals her total loss of control over the naissant conflict until the play’s

denouement.

This section shows Paula transformed into the passive recipient of some

mysterious conspiracy (from Amanda, Álvaro, Mario, the caller, perhaps God, etc. ???).

Neither the spectator nor the elder protagonist knows what will occur. Moreover, Paula

83 The threads exposed, they must be knotted up to create the conflict. The knot (nodus) is the relationship between a character's will (his desire, his passions) and the obstacles that oppose its concretization. Without obstacles, there is, in effect, no knot (conflict).

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clearly lacks the know-how to fight against such an abstract force. As the mother loses

her sang-froid and nervously drinks whisky de lujo,84 the daughter speaks with ever

more confidence, sometimes even smugly alluding to some future quagmire that Paula

cannot prevent. Amanda repeats that the moment has arrived for her mother to face her

truth: "No sé porque te molesta tanto que te diga la verdad" (20). Already depicted as an unfit mother, Paula outwardly awaits her judgment and sentence. Biblical references, such as the great flood85 reinforced by the growing intensity of the storm,

foretell a violent reckoning as an appropriate end to some contemporary Madrilenian

fable: Amanda points out: "Sigue la tormenta. Y llegará el diluvio.... Va a caer una

muy gorda" (19).86

Throughout this part of the play, the information slowly disclosed fortifies the main

points of the introductory section. In general, Amanda provides more evidence of deep

hurt and resentment; her calm demeanor seemingly masks a formidable inner-hostility

against her mother. Likewise, the younger protagonist maneuvers the events of the

subplots to afford the maximum suspense for both her mother and the spectators. Once

more action, fable and plot fuse together. The spectator expects the worst.

Pavis defines the function of the nodus as a “bloque d’action” (Pavis 64).87 The

84 María and Laura in Color de agosto and Sabina in la noche dividida also drink expensive whiskey to cope with anxiety brought about by situations they cannot control. As stated in chapter 2, the antagonists also encourage their stronger opponents to drink in order to weaken their power. 85 "And God saw that the wickedness of man was great in the earth, and that every imagination of the thoughts of his heart was only evil continually. And it repented the Lord that he had made man on the earth, and it grieved him at his heart. And the Lord said, I will destroy man whom I have created from the face of the earth... in a flood of waters" (Genesis 5, 6). 86 In the previous scene Amanda qualifies herself as "gorda" (17). Her remark insinuates, perhaps, that she will administer the punishment. 87 Pavis explains the origin of the term nodus -- in French, noeud-- from "nouer" to tie up or to complicate. In this section the playwright should develop the conflict, complicate the situation, and create a very tense atmosphere. The contrary, the denouement -- from "denouer" to untie, resolves the

Taylor 150 concern for the spectator (and Paula) switches from Amanda's leaving to Mario's arrival, an event -- wavering between forthcoming, doubtful and improbable --that remains blocked. The importance of Paula’s glances at her watch stresses to the viewer that her student could arrive at any second but oddly never does. Pedrero breaks the action into five mini-sequences, each beginning and ending with the intrusion of a mysterious phone caller who hangs up immediately when Paula picks up the receiver.

Moreover, every subdivision exhibits a noticeable rise in tension, symbolized by the quickened pace of Paula's drinking, the force of the thunderstorm and the frequency of the phone calls. Emotionally Paula's nervousness transforms gradually into despair (18) and apprehension (20) with Amanda's serenity fading into anger (22). The structure for each of these vignettes is well-defined:

1) Amanda directs the (pseudo) action, providing (vague) information on secondary action(s) transpiring outside the studio: i.e. the whereabouts of Mario and Álvaro, the caller(s), the storm.

Seq. 1: "[Mario] puntual no lo sé. Ambicioso mucho" (16).

"[Si llama para ver si necesitas algo] entonces, ¿por qué ha colgado?" (17).

Seq. 2: "Si vuelven a llamar no lo cojas" (17).

"Todavía puedo sorprenderte, madre" (17).

"Sí, a Mario le encantará [el whisky de lujo]" (18).

Seq. 3: "A lo mejor llega antes el mío/ no es ningún compañero/ no es tan joven"

conflict and eases tensions (64-6).

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(18-9)

"Va a caer una muy gorda. Prefiero esperarlo aquí" (19).

"Prefiero que lo adivines" (20).

Seq. 4: "[Si Mario tiene problemas] ¿Por qué no cambia de teléfono?" (20).

"(Con rabia) Eres imposible" (21).

"Lo mío sí que es una situación... especial" (21).

"(Con rabia) Quizás se retrase" (21)

"[Mario] no tendrá cobertura.... va a la montaña los fines de semana" (23).

"A lo mejor no era él.... [Era] papá, por ejemplo" (24).

Seq. 5: "No te molestes en cogerlo. Va a colgar." (27).

"¿Tú crees que papá es tonto?" (27).

The protagonist's mysterious comments provide the audience (and Paula) with key pieces to the puzzle. Apparently, she recognizes the identity of the caller (perhaps her father) and knows that Mario will not keep his date with Paula. Further, Amanda appears to have more insight into the young man's habits than her mother. Finally, her rendez-vous with an older man perplexingly mirrors the rapport between Paula and

Mario. Despite the relevancy of Amanda's statements, her mother fails to take notice.

Distracted by continued preparations for Mario's arrival, she still largely underestimates her daughter at this point: "No digas bobadas" (15); "No seas cría"

(18+25); her anxiety remains linked to the phone caller and the clock: "(Vuelve a mirar el reloj) Plantada y sin novio" (25). Paula's naïveté does not appear unique to

Pedrero's drama. Indeed, Simon affirms that playwrights often grant privileged information to spectatators (voyeurs) in a ploy to involve them directly in the play and

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create a fear factor: "In Aristotelian theater, a play has a definite beginning, middle,

and en end. By the middle of the drama, you understand more than the characters on

stage. You see the threats they don't and begin to fear the consequences..." (Simon

88).

2) Amanda introduces four crucial points of contention which strengthen the mother/daughter conflict: jealousy, hypocrisy, neglect and delusion. These arguments, clear-cut and coherent, function to preserve the spectator's identification with Amanda in spite of Paula's loss of power.

Point 1: (jealousy)

Sigues siendo muy guapa, madre. De madres guapas, hijas feas.... No he

salido a ti.... Doce kilos más y diez centímetros menos. [De mi padre]

tengo sus ojos diminutos. Y su barriguita. Y su narizón. (15-16)

Point 2: (hypocrisy)

Amanda -- Sabes, madre, los chicos de hoy no se enamoran de una mujer

por su talento.

Paula -- Los de antes tampoco.

Amanda -- Entonces, ¿para qué sirve el talento?

Paula -- Para ti. El talento es tuyo y pase lo que pase nadie te lo va a

quitar. El amor viene y se va, no está en tus manos. (16)

Paula -- ¿Por qué no bajas a casa y te cambias de ropa? Te empeñas en

que no se te note el cuerpo. Además ese jersey no te favorece.

Amanda -- ¿Y cuál me favorece?

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Paula -- El negro te queda muy bien. El negro da luz a las niñas.

Amanda -- Y adelgaza a las gordas....

Paula -- ¿Por qué no te pintas un poco? Estás más guapa... (20)

Amanda suffers from constant self-comparisons to her mother. Despite multiple

dissimilarities, the girl feels the need to imitate Paula. For instance, she chooses to

study screen-writing at the same academy where her mother works as a distinguished

professor.88 Indeed, the source of Amanda's jealousy relates to the issues for which

competition is irrational: aesthetic beauty, body type or popularity. Not only does

Amanda have an inferiority complex vis-à-vis her mother, she accuses her of hypocrisy.

Even though Paula preaches diversity, equality, liberty and talent for the contemporary

woman, she cultivates a very feminine image of herself that complies with society's

exigencies. Moreover, she subtly criticizes her daughter for not fitting into this

aesthetic mould.

Point 3: (neglect)

Paula -- Mira, Amanda, que te conozco como si te hubiera parido. (17)

Amanda -- No te importa. Te han importado siempre un bledo mis

historias. (18).

Amanda -- Tú siempre vas a tu rollo, mirando hacia adentro. (20)

Paula -- Amanda, cariño, sabes que últimamente estoy muy liada... (21)

88 Paula suggests throughout the play that Amanda has considerable talent and may be at the head of the class.

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Amanda -- No piensas, no ves nada, no me ves. Ahora menos que nunca.

(21)

Paula -- ¿Qué tengo que verte ahora? (22)

Amanda -- No eres el centro del mundo. (22)

Paula -- Tu actitud. Me miras mal. (24)

Amanda -- Te miro como siempre. Pero tú me miras poco a mi, siempre.

(24)

Amanda -- [Es facil] ir a tu bola. No pensar en los demás. (24)

Amanda -- No miras, no nos miras, madre. Y eso es sospechoso y ...

espantoso. (28)

Pedrero reiterates the tale of a mother's devastating neglect of her teenage daughter.

Vivien E. Nice, in Mothers and Daughters: The Distortion of a Relationship, deems a maternal presence fundamental for the rite of passage of a girl into adulthood. "The daughter needs to assert herself as different from her mother, with different expectations and themes" (108). Obviously, Amanda does not declare independence; on the contrary, bemoans Paula's absence. Actually, her lack of regard is seen to hinder the development of the girl into a self-confident woman. Dennis Perri's study on Pedrero's theater89 draws attention to the importance of the gaze in each of the author's plays:

"Although Pedrero's theater does illustrate powerfully how the gaze of the other is able

to control and limit the self's definition and freedom, it is also apparent that the

89 Perri, Dennis. "Paloma Pedrero's Theater: Seeing is more than Believing." Estreno 29.1 (2003): 43- 48. The scholar offers an exhaustive study of the gaze in all of Pedrero's plays before 2002. He believes beholding to be the root of all conflict in the dramatist's work.

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dramatist's art suggests the self's need for the sight of the other to fulfill its self-

definition" (43). To gain insight into "who she is, what she wants, and how she

interprets her life" (45), Amanda needs her mother's imput. Instead, Paula's feedback

proves only negative: lies, manipulation, cult of youth and money, or advice on

concealing her physique with black clothes and make-up.90

Point 4: (delusion)

Paula -- Mario y yo estamos compartiendo una emoción.

Amanda -- ¡Ya salió el guionista! (13)

Paula -- Me dará el cuarto de hora de cortesía.

Amanda -- Eso es sólo en el teatro. (19)

Paula -- ¿Qué quieres decir? Tradúceme el "intertexto". (21)

Paula -- No soporto a tu padre.... Es una tragedia no soportar a la persona

que más has querido en la vida.

Se me han ido rompiendo los hilos de la emoción. (25)

Es como si le hubiera ido pillando los trucos. Uno, después otro,

después otro... Es como si cada año de convivencia me hubiera

ido desvelando una verdad... demasiado vulgar.... Se me ha roto

esa ilusión que me hacía verlo como a un hombre único.... Tu

padre me aburre.

Amanda-- Eso es literatura. (26)

Amanda implies that Paula's job as screen-writer colors the woman's mind frame to the

90 The gaze will be developed much more in later sections of this play.

Taylor 156 point that her judgment is no longer sound. The professor elaborates a script for her tryst with Mario corresponding to a turgid stage production (program, script, intertext, tragedy, props, passion, literature). Further, Paula's discourse sometimes borders on melodrama: "He pensado que era un globo mental mío, una fantasía. Pero esta vez, esta vez si no lo vivo... me muero" (14). In fact, Amanda has intruded into her mother's play in progress, whose script seems to have been written years ago: "No puedo esperar. Llevo años esperando" (15). For Paula the obstacle of the "knot" is clearly Amanda.

3) Paula's reaction to Amanda's allegations mirrors the spectator's bewilderment throughout the nodus: "¿Qué dices?" (14); "¿Y qué?" (15); "No voy a entrar en tu juego" (16); "¿Por qué?" (17); "¿Qué pasa? ¿Estás misteriosa?" (17); "¿Quién es?" (18);

"¿Qué estás insinuando?" (19); "¿Qué hora tienes?" (19); "¿Qué coño te ocurre?" (21);

"¿Qué quieres decir?" (21); "¿Por qué dices eso?" (22); "¿Dónde está?" (23); ¿Qué dices?" (24); "¿Qué pasa aquí?" (27); "¿Quién está llamando?" (28); "¿Quién mierda eres?" (28). Working to fill in the pieces of the puzzle, the spectator never quite understands the broad picture since Pedrero withholds too much information. "The strength of the audiences's desire to understand can be measured by the playwright's use of the tactic of withholding. The playwright tantalizes, teases, even frustrates in order to raise the stakes, to make the spectator care more and more about reaching the final moment of illumination" (Simon 22). Pedrero reinforces a climate of suspense and uncertainty by consistently employing the future of probability and conditional verb tenses: "¿Quién llamaría?" (15); "¿Será puntual?" (16); "Se le habrá cortado" (17); "No

Taylor 157 podrá" (20); adverbs such as "A lo mejor" (17,18,28); "Tal vez" (17); "Quizá (22)" as well as verbal periphrases expressing doubt: "Tiene que estar llegando" (23); "Debe estar diluviando en la sierra" (27).

Only Amanda remains unflappable by the telephone ring, but draws on the event to speculate on the identity of the caller and its meaning for Paula. Again, Pedrero draws out suspense through slow repetition and elusion of straightforward answers. This tactic gives increased importance to the phone call and teases the audience, who feels

Paula's fears:

Amanda -- A lo mejor era para mí.

Paula -- ¿Y qué?

Amanda -- Y te han reconocido la voz.

Paula -- ¿Y qué?

Amanda -- Nada. (15)

[...]

Amanda -- ¿Por qué ha colgado?

Paula -- No ha colgado, se le habrá cortado.

Amanda -- ¿Y tú qué sabes?

Paula -- ¿Y tú?

Amanda -- Yo nada. (17)

Amanda's strategy proves successful as she is able to dominate the second section. By raising the issue of the caller, she destabilizes her mother and prevents her from regaining the upper hand. Amanda's speculations make Paula (audience) wonder if the caller will turn out to be Mario and whether or not he will ever come. Amanda's

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supremacy happens not through concrete actions nor facts but by the power of the

spoken word which creates the entanglements of the knot. For Paula, her daughter

becomes the obstacle for a happy end, even though she had already promised to leave.

By the end of the nodus, Paula suspects that "the other room" has become the scene of

an ambush: "le noeud [est] un conflit qui se caractérise par la rencontre des forces

antagonistes du drame; soit extérieurs, soit intérieurs" (Pruner 34).91 The outer story

illustrates the efforts of a daughter to thwart a rendez-vous in her home92; the inner

story depicts a scorned young woman bent on revenge or punishment at her inattentive

mother. Ill at ease, Paula decides to change her mind and flee the apartment: "Tengo

que irme" (22). Amanda now retains her mother, by insinuating strongly that the date

will not take place: "Quizá se retrase" (22) and that the caller may even turn out to be

her father: "¿Tú crees que papá es tonto?" (27).

III. Peripeteia and Distancing

La péripétie introduit dans le noeud un élément nouveau,

dans la mesure où elle modifie la situation

née de la présence de l'obstacle. (Couprie 35)93

Aristotle defined the term peripeteia as "le retournement de l'action en sens contraire"

91 The nodus is a conflict that is characterized by the meeting of the drama's antagonistic forces; whether they be interiorized or exteriorized. 92 Pruner reveals that the typical outer (exteriorized) conflict takes the form of parents opposing their children's love interests. In this case, Pedrero has obviously inverted the traditional scenario (Pruner 34). 93 The peripeteia introduces a new element into the nodus, so that the situation born out of the presence of the obstacle is modified.

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(Pruner 34).94 Simon adds that the turning point produces "an urgent need to reevaluate the play" because "the world is no longer what the spectator had imagined" (Simon

117). "You push into the play but the play pushes back" (112). "The audience has been fooled" (114). Peripety occurs in En la otra habitación after page 28, exactly halfway into action:

Paula -- ¿Estás loca? Yo no he hecho nada malo. Nada por lo que él [tu

padre]...

Amanda -- Lo ibas a hacer hoy.

Paula -- (Confusa). A ver, a ver si nos entendemos...Tú sabías que yo

había quedado con alguien aquí.

Amanda -- Sí, mamá.

Paula -- ¿Y tu padre?

Amanda -- Eso no lo sé. No sé si él lee tus imeils [también]. (28)

Amanda's revelation stuns spectators; she had known about the encounter because she reads her mother’s E-mails. Hence, she decided to return to foil their date. Thus far,

Pedrero has primed the audience to have faith in the young protagonist who in comparison to Paula stands out as quite mature and ethical. But, why feign a trip to

Paris? Why an appearance just a half-hour before Mario’s arrival? What about her boyfriend? In reality, she has dodged Paula’s questions not to foster suspense but to conceal the fact that she never contemplated leaving town nor plans to meet any mysterious gentleman in her studio. The spectator’s deception grows as the scope of her lies from the onset of the drama gradually becomes apparent. For instance, he/she

94 The turning back of the action in the opposite direction.

Taylor 160 recalls previous dialogue: "Tomé el tren, de verdad. Pero, me llamó" (4); "Le voy a poner el corto que hice el año pasado" (5); "Madre, necesito saber lo que siento" (8);

"¿[Es] Mario Sánchez?" (10); "Es la primera vez que lo veo [a mi novio] fuera de la escuela" (18); "Mi lío va a venir dentro de un momento" (22); etc... Moreover, Amanda proceeds to tell untruths even after this initial confession. Again, Pedrero sets the viewer in a privileged position since Paula still has not caught on to the ruse. The mysterious phone calls resume:

Paula -- Bueno, no creo que tu padre los haya leído [los imeils]... ¿o sí?

Amanda -- No sé. Pero entonces, ¿quién llama? (29)

Paula -- ¿Quién es? ¡Habla!

Amanda -- Un hombre celoso puede hacer cualquier tontería.

Amanda -- Si es Mario le vas a asustar. (29)

Paula -- ¿Le has dicho algo a tu padre?

Amanda -- Sólo que tuviese cuidado. (30)

Amanda -- Nada, yo al menos no le he dicho nada [a mi padre].

Paula -- Acabas de decirme que le has dicho que tuviese cuidado.

Amanda-- ¿Cómo le voy a decir eso?

Paula -- Entonces, ¿por qué me has dicho que se lo has dicho?

Amanda -- Por joder.

Amanda -- Ha sido un impulso. (30)

Amanda -- (Suena el telefonillo de la calle.) Contesta. A lo mejor es el

mío. (32)

Clearly, in a broader scheme, Amanda orchestrates the scene for maximum dramatic

Taylor 161

effect, reluctantly surrendering the web of her lies to prolong her charade ad infinitum.

In due time, the girl divulges that she contrived almost all of the storyline: i.e.: she told

her friend, Cris, to ring and hang up at regular intervals to "molestar, no dejaros

tranquilos" (36). Further, she takes pleasure in her mother´s humiliation. A more

sinister side of Amanda shocks even Paula, who wakes up to the great threat at hand:

"No te conozco. Tú no eres mi hija Amanda" (35). Despite swearing that she did not

disclose information from the e-mails to Álvaro, Paula understandably no longer trusts

Amanda and lashes out against her. The stage directions show Paula’s mounting rage

and terror: "(Le agarra del brazo)" (30); "(Amenazadora)" (30); "(Arrebatada)" (31);

"(fuera de sí)" (31); "(demudada)" (32); "(Apretando fuerte el brazo de Amanda)" (32);

"(Paula le da un bofetón)" (32); "(Agresiva)" (34); "(Agarrándola del pelo)" (35). The daughter definitely prevails in her attempt to destabilize her mother; throughout this section she frantically paces around the room and gazes out the window in search of clues: "¡Dios..., me estás metiendo en una pesadilla! Dime todo lo que tienes en esa cabecita enferma o te parto la cara" (29). Realizing the gravity of the situation: "Dios mío, me miras con odio. Me estás odiando" (31), Paula pressures Amanda to call her father’s mobile to verify his whereabouts, but in vain, the girl reaches Álvaro’s voicemail. Disbelieving Amanda, Paula tries her husband’s number again. This time, however, he does respond, prompting Paula to hang up immediately and lose all remaining composure. At this point, the fear factor reaches its pinnacle for the spectator as a violent altercation now appears imminent. Without delay, the professor turns on

Amanda and slaps her. Reiterating the voyeurs’ frustrations, Paula demands the whole truth:

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Vamos, a ver, me vas a decir ahora mismo a qué estás jugando. ¿Por qué

has vuelto? ¿Quién llama? ¿Cuándo leíste mis imeils? ¿Qué le has dicho

a tu padre? ¿Con quién has quedado aquí? ¿Dónde está Mario? (32)

Nevertheless, Amanda’s vague comments only perplex the audience even more: "Si este bofetón me lo hubieras dado hace mucho tiempo no estarían así las cosas" (33);

"No soporto la idea de que te enrolles con ningún tío" (33). Fortunately, tensions subside when Álvaro returns his missed phone call and appears to have no knowledge whatsoever about Amanda’s decision to stay in Madrid or his wife’s love affaire.

Paula’s dialogue with her husband, nonetheless, underscores her own skills at duplicity:

Álvaro... Hola. No, no sé, se cortó la comunicación... Sí, estoy bien....

Suspendí la reunión para estar con la niña....cosas de mujeres. No pasa

nada, no te preocupes... ¿Quieres que cenemos juntos... los tres?... No,

necesario no es. Es por si..... Bueno, pues venga entra en la reunión que te

están esperando... Luego hablamos... Un beso. Chao.

Actually, both mother and daughter exhibit a similar type of behavior characterized by dishonesty, deviousness and pretense. Moreover, Amanda alleges learning this behavior from her mother: "Me invento las historias, como tú. Yo soy guionista de mi vida. De mi puta vida" (39). Whereas Amanda’s motive is disrupting the date: "te he jodido el plan, madre" or reprimand for lifelong abandonment: "una lección a la brillante profesora de guión” (34), Paula, the screen-writer par excellence, subtly manipulates or inspires her entourage (husband, daughter, students and lover) with a variety of strategic discourses and elaborately tailored scripts. In such a manner, the

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successful woman masters every situation and tends to have the last word. Only

Amanda remarks on this device: "(Aplaudiendo) ¡Bravo! ¡Bravo! Cada día vas mejorando el discurso" (40). Already portrayed as a bad mother by Amanda, the audience now must consider Paula’s fresh assessments of her daughter: "Eres una mentirosa compulsiva" (34); and "una niña mal criada" (35). Amanda herself cries out:

"Soy un monstruo. Mírame, mírame. ¡Soy un monstruo!" (35). This aggressive scene may appall certain members of the audience.

Pruner avers that the force of peripety lies in the fact that the action rebounds

(un coup de théâtre), takes the spectator aback, and reverses the faulty perceptions based on erroneous information (35). The turning point shatters previous identification with Amanda and modifies the feel for the rest of the play. On the one hand, the viewer can no longer perceive Amanda as innocent, rational and good; on the other hand,

Paula’s continued punishment may still be interpreted by many as just desserts. Other theater-goers might even speculate that Amanda’s character defects stem directly from

Paula’s bad stimulus. Many diverse opinions are possible at this point.95 However,

Couprie highlights the importance of maintaining a certain decorum for the audience,

"les impératifs éthiques et esthétiques" (exterior decorum) and "la cohérence de la

structure" (interior decorum).96 He postulates that in order to keep the spectator

engrossed in the drama, the plot should remain credible, exemplary, devoid of vulgarity,

95 On surveying five readers of "En la otra habitación'" it became clear to me that individuals held widely divergent perceptions to the peripeteia scene. Whereas some (male) readers became disinterested in the play, at least one (female) reader felt that her personal identification with Amanda survived the scene. She believes that Amanda's lies or manipulation seem justified given her noble goals of saving her family at all costs, disrupting the tryst, and forcing a show down with her mother. Nevertheless, all readers notice the break in action and the urgent need to reflect on the play. 96 ethical and aesthetical imperatives/ structural coherence

Taylor 164

and not stray too far from realistic scenarios (40-41).97 Is decorum maintained?

Whatever the case, between pages 28-38 the spectator clearly needs to reassess the

entire play to prepare for the next section. Simon states that peripeteia "shifts the play

from the track of illusion to the track of reality" (117). Remembering their own

experience from the first half of the play, viewers redefine the protagonists and unravel

the complicated "knot" that has clouded both the protagonists' and the public's

judgments. Doubtlessly, he/she must "distance him/herself from the strange play" to

make an objective evaluation.

The distancing which occurs following the peripeteia bears witness to a certain

influence of Bertold Brecht on Pedrero's work, whose ideas on "epic theater" or form of

the future indicated that arousing social change was drama's priority. Ben Chaim

explains:

Brecht intends to cause the viewer to see the context in which the characters

live in a critical perspective. An emphasis on the social context presumably

increases distance by widening the spectator's perspective, heightening the

viewer's awareness of the socio-economic system onstage as being but one

system among other possible systems. (29-30)

Relegating aesthetic pleasure to a minor role, the German dramatist suggested that the play's social lesson needed to be obvious to the spectator to ensure maximum effectiveness. Brecht states: "If the audience is in a hypnotic trance they won't see the

97 Couprie suggests that decorum is so important that dramatists must be careful not to hurt the audience’s sensitivities, provoke indignation, or foster a lack of respect for his/her characters. When talking of conforming to usages and costumes of the audience, Couprie reemphasizes the horizon of expectations and Aristotles’ mimesis I have already discussed. Couprie’s version appears much stricter and adds that decorum must stay intact throughout the entire duration of the play and must placate the audience. (40-42)

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big picture" (Ben Chaim 28). Therefore, he generally opposes Aristotelian theater and

rejects categorically any personal identification with protagonists.98 Quite the opposite,

the communist believed that only an alienated audience (Verfremdungspublik99),

emotionally removed from the dramatic scene, could correctly interpret the key social

fable. He stipulates: "[the goal of a theater production is] to achieve a splendid

isolation [for] the spectator, an increased distance whereby the audience member is

intellectually involved, applying critical judgments, and making valuable comparisons"

(Ben Chaim 25). Brecht's spectator retains an active role throughout the play:

The artist's central aim is to jolt the passively viewing spectator into a more

conscious, alert mental state by forcing him to see characters and events in a

new way, to perceive them within the social context. In this way, the

characters' actions will be perceived not as the ordinary turn of events, or as

inevitable but will be looked at with a fresh view with an attempt to

understand why the character, being the type of person he or she is, does

these particular actions. (Ben Chaim 31)

Claude Hill, in his biography on Brecht, provides a useful diagram to contrast the

German dramatist's ideas with those of traditional Aristotelian norms (Hill 147-8).100

98 However, certain scholars such as Daphna Ben Chaim (28) inform that he changed his mind later in life due to the fact that audiences really did not enjoy (or attend) his plays since there was no identification with the characters and their subject matter seemed too intellectual. In fact, Brecht is more well known for his theory than for his dramatic works. 99 Verfremdung literally means "to make something seem strange or odd to somebody" (Hill 109). Translated as 'alienation' in English, the desired effect is for the audience member to view the spectacle as so bizarre that it seems ludicrously incredible that such a social condition could really exist somewhere. Alienation in the sense of empathizing with the plight or the characters is inappropriate for Brecht. "An incident will only appear to me as unique, i.e., as a one-time event in history, if and when I observe it from a distance and cease to take it for granted. I must be brought to the point of finding it strange" (Hill 146). 100 Hill took this comparison from Brecht's notes to his opera Aufstieg und Fall der Stadt Mahagonny,

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Traditional Aristotelian Theater Epic Theater (Form of the Future) the stage embodies an event narrates it draws the spectator into an action makes him an observer, but... consumes his capacity for action awakens his capacity for action allows him to have emotions demands decisions from him provides him with experience provides him with knowledge the spectator is drawn into a plot the spectator is placed opposite it suggestion is used arguments are used feelings are preserved are propelled into perceptions man unalterable man alterable and altering suspense about the outcome suspense about the progress one scene exists for another each scene for itself linear development in curves and waves the world, as it is the world, as it has become thinking determines being social being determines thinking

On examination, one notices clear fundamental differences between the two theories that oppose each other at every level (purpose, structure, setting, rhetoric).

Nevertheless, Pedrero consciously strives to integrate both concepts in her works as they reflect her dual interests and create a unique mix in her works. As a woman of theater, the Spanish playwright painstakingly crafts her art to offer her spectators an exciting emotional experience based on the power of the spoken word; however, the sociological scholar who champions the rights of the underdog needs to vent her

published in 1930.

Taylor 167 frustrations with the unfair social system she would like to see changed. Unlike Brecht, the unabashed Marxist, Pedrero does not claim to have answers to any of the social issues she addresses; her concerns serve as "food for thought" for her spectators who freely reflect on the author's ideas and make any personal efforts/changes in their lifestyles that they deem reasonable. The dramatist's play with distance and peripety, in this and in the following section, serves as a brief interlude in the action before the emotional connection gradually becomes reestablished with the audience prior to the denouement. The spectator, no longer attached to the characters, can begin to examine the social realities which have forged the complex relationship between mother and daughter.

Pedrero exposes her social ideas (consumerism, individualism, child raising, role of women in society, lack of employment for young people) by employing a typical format she developed in previous plays101 in which one character attacks the other for his/her shortcomings, then subsequently provokes a similar perhaps harsher rebuttal from the second character. At first, the characters defend their own viewpoints vehemently, unable to see the other's valid position, but later, during one single moment of role-play, they do achieve a temporary symbiosis, portrayed as fleeting harmony accompanied by a cathartic reaction. In this section, Amanda benefiting from the boost she received out of the peripeteia still continues to dictate plot development. Her attack centers on blaming her mother for her becoming a "monstruo." Afterwards, Paula will reassume the dominant role, which eventually results in the play's startling denouement.

101 i.e. La llamada de Lauren, El color de agosto...

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Injustice according to Amanda

Amanda's declaration that her mother turned her into an ogre affects Paula immediately, attenuating her wrath and creating considerable grief for the woman.

Note the didascalia: "(Sobrecogida)" (35); "(Noqueada) (37); "(Después de un instante de parálisis)" (38); "(Sobrecogida)" (38); "(Débilmente)" (39); "(Con mucha emoción)"

(40); "(Acongojada)" (41); "(Suspira hondo)" (41). Paula's weakened position favors

Amanda's renewed efforts to punish her: "A mí me has hecho mal" (37); "¿No ves lo mal que he salido?" (37). Conscious that her most effective attack yet stems from the fact that her triumphant mother cannot cope with failure, Amanda continues to qualify herself as a project gone awry due to a lack of mothering. Further, the adolescent manages to justify her preceding lies and turn them to her advantage; for example, she maintains she must invent fake boyfriends because no man takes interest in an ugly, overweight girl:

No hay amigos. ¿sabes, mamá? Yo no tengo amigos que quieren hacer el

amor conmigo. (36)

Mentiras. A los chicos no les gustan las chicas por su talento. ¿O tú crees

que le gustas a Mario por tu talento? Mario es como todos, le pone ligarse a

una tía importante, a una tía que todavía está buena. (37)

Reiterating this point, Amanda questions the validity of her mother's pride in being a self-made woman. For the young lady, all relations and success relate to sex-appeal.

Although Paula denies any basis for Amanda's exaggerated line of reasoning, a key moment takes place when the daughter shoves her mother onto a scale to force a comparison in body weight:

Taylor 169

Paula -- [tu belleza está] En tu fuerza, en tu fuerza, en tu inteligencia, en tus

heridas en tu cuerpo de sesenta y dos kilos.

Amanda -- Te lo cambio. (40)

Obsessed with her looks (or lack of), the young character lacks amour-propre. Amando de Miguel (1999) explains that maintaining a certain body image has become ever more crucial for young Spanish women who go to endless lengths to stay in shape: "[seen in] la insatisfacción corporal, el creciente atractivo del deporte, el cuidado del cuerpo, la cirugía plástica" (58). Moreover, the public may cast doubt on Amanda's sound judgment since sixty-two kilos (one hundred and thirty-five pounds) is far from obese.

The crux of the problem obviously lies not in objective criticism but in the girl’s continued comparisons to Paula (62 kilos to 51 kilos), who ostensibly becomes a destructive model for her daughter. Amanda remarks once more her mother’s overshining superiority: "Tú a los dieciocho años ya eras tú. Tenías un buen cuerpo y un deseo.... [Luego] Lo de cambiar el mundo te lo creías. Y eso te funciona" (37).

Vivien Nice studies the love/hate dichotomy which often develops in traditional mother/daughter relationships around adolescence, a time when the rapport between the two women undergoes a crucial reevaluation. The scholar lists a certain number of issues related to competition and power that should be addressed to ensure a natural transition into womanhood:

1) the stepping-up of restrictions on the mother's part and the daughter's

rebelling against them;

2) the daughter's growing up and the mother's growing old, which may

result in the mother having competitive and resentful feelings towards the

Taylor 170

daughter;

3) the daughter's need to assert herself as different from her mother, with

different expectations and dreams;

4) the mother having to accept her daughter's separateness;

5) mother and daughter competing for role and domestic territory;

6) the daughter's relinquishing of her father to her mother;

7) the daughter's turning away from her own mother and looking for an

'ideal' mother;

8) a boyfriend as proof of the daughter's new identity as an independent

woman. (111-8).

Clearly if this scheme represents normality, Amanda and Paula's relationship fall well short of Nice's requirements. Indeed, the public will notice that Pedrero largely subverts this conventional scenario: the mother rebels against her daughter's restrictions, looks younger, as well as competes with her daughter both for suitors and control of her daughter's domestic space. In addition, Amanda follows in the footsteps of her mother by choosing the same profession, deplores the gap existing between the two women, and wants Paula to develop into her ideal mother. More importantly, it is

Paula who appears to relinquish Álvaro to Amanda, who staunchly defends her father.

Amanda, as previously explained, remains a virgin, and in contrast to both her friends and mother, receives no attention from men:

Yo quiero follar, follar como las tontas de mis amigas guapas. Yo quiero

follar y los tíos no quieren.... [Sólo tengo] amigos que me cuentan lo

enamorados que están de otras. (39-40)

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Nice also underpins that "Western adolescent girls are under cultural and ideological

pressure to get a boyfriend. The importance is indisputable: it is after all viewed as

proof of their womanhood" (118). Pedrero paints a picture of a teenage girl in crisis

who wavers between wanting to sever all ties with her mother or to (re)kindle an enfant/

mother bond that perhaps never existed. In short, Amanda's behavior, far from mature,

develops into a plea for recognition and leadership from her mother, who had imagined

(just as the audience) that her daughter embodied all the qualities of a bright and well-

raised college student. Amanda reiterates, however, that she is still a child : "Soy una

adolescente, ¿verdad?" (41) and needs her mother's help to grow into a woman: "Tú no

me has ayudado a ser yo. A ser distinta. Escucha madre ciega. ¿Tú qué me has dado?"

(39). Paula's dry humor --"Amanda, te conozco como si te hubiera parido" (24) -- now takes on a tragic flair as it demonstrates the deep gap between the two characters and the prospect that this mother/daughter conflict may not be resolved.

Amanda's reproaches intensify as she calls into question and condemns most of the important decisions Paula has taken in her life. They serve as supporting evidence for the woman’s failure at motherhood.

On money and gifts replacing care-giving:

Tú todo es muchos caprichos, muchos estudios, mucha paga y mucha

niñera. (39)

On becoming a social activist:

Tú tenías que luchar, que luchar por cambiar el mundo, que luchar por la

igualdad de los sexos, que luchar por triunfar personalmente... (39)

When Paula explains that she had to establish herself as an individual as well as succeed

Taylor 172

in her career, Amanda strongly suggests that those desires are incompatible with being a

mother:

Sí, por supuesto, pero entonces, ¿por qué fuiste madre? (39)

Amanda delivers the coup de grace on revealing that she is seeing a psychiatrist for an

eating disorder.

Sabes que vivo para comer... Me meto los dedos en la garganta después de

comer.... Ya estoy yendo a un psicólogo. A un amigo de papá. (38-41)

Nice states that for bulimics:

The most important member of the family is the mother. It is through her

relationship, or lack of one, with her mother that her problems of identity

and autonomy, as well as those relating to her own body, have arisen....

Both compliance and hostility are in relation to the other who has failed to

nurture and whose approval she is seeking. (114-15)102

The bulemia, thus, strengthens Amanda's assumption that Paula's absence from the

home ruined her.103 Amanda even adds that the psychologist favors that diagnosis: "Él

ve más grave lo mío contigo.... La falta de comunicación. El odio... escondido" (41).

Moreover, her indication that Álvaro personally took care of the matter by finding the

specialist suggests that really Paula was betrayed by her family long before she decided

102 Nice also says that overweight teenage girls typically have successful or beautiful mothers. In an interview with one of these daughters, she declares, "I had defeated her. I wouldn't ever let her make me over in her image, thin and beautiful." "The dismay felt by the obese daughter relates to her need to be accepted by her mother for the person she is..." (111-2). 103 Some spectators may suspect that obesity is not compatible with anorexia or bulimia. Others may acquaint her exaggeration of 62 kilos into obesity with her eating disorder and believe the problem is grave. Still more astute audience member may be leery of Amanda's comments given her history of lying to spectators. However, Paula will not know until almost the end of the play that Amanda has lied one more time about her bulimia and visits to a psychiatrist. Again, the character lies to manipulate her mother's reactions.

Taylor 173 to betray them with Mario. Content to see her mother thoroughly distraught, Amanda concludes her punishment and prepares to leave to join Cris in a bar. As she grabs her purse to exit, she chides her mother, declaring ironically: "Es bueno hablar, ¿ves?

Comunicarse" (42).

The alienation-effect enables the audience to view Amanda’s attack on Paula more objectively as the protagonists turn into a sort of paradigm of an odd dysfunctional

Madrid family. Most of the spectators distance themselves since they cannot or will not identify with the plot. Pedrero introduces a number of relevant social topics in this section: For example, what should the role of women be in modern Spanish society? Is a career compatible with motherhood? What is the ideal rapport between a mother and a daughter? Do feminists cause more harm than good within their families? Are social activists really hypocrites? Do they sacrifice their families for a cause? To what extent are parents responsible for the outcome of their children? What triggers new eating disorders such as bulimia that did not exist in the past? Who really perpetuates the contemporary cultural or social images concerning the (female) body? Are the nouveaux-riches and successful professionals really better off for their money? Is there a social lesson to be learned about the Spanish family? How could there be so little effective interpersonal communication? Is this story preposterous or uncanny? Why or why not? Could any of this subject matter pertain to you? If so, act on a personal level!

Again, Pedrero facilitates the questions but does not attempt any answer. "What does the playwright want from you now -- all of you -- no matter what you believe about the play? He wants you to sit back and think" (172).

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IV. The dénouement

La disparition des obstacles qui formaient le noeud amène

la résolution du conflit. Cette résolution s'accompagne du passage

du malheur au bonheur ou inversement du bonheur au malheur. (Couprie 35)104

At this stage, irreconcilable differences dash the hopes of a happy ending and tensions peak. As elder, only Paula can remove the obstacles that separate the two characters. Unmoved by her daughter's plight throughout much of the play, the audience needs a riposte from Paula to provide a rationale for her behavior. Simon believes that all spectators secretly acclaim happy resolutions in works dealing with family matters: "[Playwrights] need to take into account natural ties that bind, [such as] families.... Friendship, clan and ethnic ties matter for audience members" (Simon 21).

Pruner also acknowledges the importance of a clear and natural denouement for spectators: "Le dénouement doit découler naturellement de la situation" (Pruner 35).105

In essence, the public requires Paula's intervention. Through her leadership, the woman can redeem herself as well as offer Amanda the needed support to emerge from her teenage crisis.

Paula -- Siéntate, Amanda. Ahora me voy a comunicar yo.

Amanda -- Pero, madre...

Paula -- ¡Siéntate! (La sienta ella) ¿Tú qué te crees, niña, que me puedes

104 The disappearance of the obstacles that formed the knot (nodus) brings about the resolution of the conflict. This resolution is accompanied by a transition from sadness to happiness or conversely from happiness to sadness. 105 The resolution should flow out of the situation naturally.

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clavar un cuchillo de mala manera y dejármelo adentro?

Voy a contestarte. (43)

Symbolically, by retaining Amanda, Paula pledges a commitment to her daughter and

dismisses Mario from the play and from her mind. At once, she takes issue with

Amanda's critique and works to dispel the bad mother classification: "Dime cosas

concretas" (3x) (43).

Injustice according to Paula

In the section that follows, Paula usurps the dialog and increasingly acquaints Amanda with Álvaro: "Mentirosa y lianta como tu padre eres un rato" (48).106 In turn, the

daughter speaks on behalf of her father: she insinuates, for example, that Paula may

have taken advantage of the man's notoriety to make her own career, perhaps even

entrapping him into marriage with pregnancy: "Por eso te casaste" (44); "Te casaste

para que te ayudara" (44); "Querías ser escritora" (45). Her allegations seem ridiculous

as they are based on hearsay and not fact. In fact, Amanda stubbornly contradicts her

mother regardless of the subject matter. Inversing the trend earlier on, Paula now

assumes the voice of reason:

Paula -- Se acabó la pasión. Tu padre dejó de poner la mesa... hacerte las

coletas.

Amanda -- Me las hacía... [Tú no] (45)

Anxious to leave, the daughter loses all interest in a continued dialogue with her

mother. When Paula speaks of her struggle to succeed in the screen-writing

106 Earlier she had also commented on Amanda's uncanny physical resemblance to Álvaro.

Taylor 176 profession107 while juggling time between work and home, Amanda turns a deaf ear:

"No te has enterado. Así que te lo voy a repetir" (44). Indeed, by this stage the protagonist's discourse takes on airs of a political argument meant to inform her daughter on the evils of the world. The inspired social activist blames society for assigning all domestic chores (including the responsibilities of child-rearing) exclusively to professional women (but not to men) : "Tú no tienes la culpa. Pero yo tampoco. Yo no tengo la culpa de vivir en una sociedad mal hecha, injusta, cabrona con las mujeres." (46)108 Stating she did her best given the situation, Paula reaffirms the point of contention between the two protagonists:

Paula -- Yo no te he hecho comiditas, ni he vivido solo para ti, ni he estado

encima de ti como una mosca en la miel, ni me he pasado el día

haciéndote la ralla del pelo.... Pero yo, Amanda,... te he besado

mucho, te he entendido mucho, te he gozado mucho....

Amanda -- Pues no es suficiente. (46)

Emotions soar as each protagonist interrupts the other to impose her view (cruel abandonment versus need to triumph outside the home). Eventually, Paula concludes that Amanda has been spoilt by her privileged childhood and sheltered from the humbling ordeals that her mother had experienced in her youth. Declaring herself free of guilt, the professor exclaims:

Sí, una cosa he hecho mal. Muy mal. No decirte claramente que cada uno

somos responsables de nosotros mismos. Porque no he vivido para ti,

107 Discussed in detail in chapter 1. 108 This point was also mentioned in La isla amarilla, chapter 2. The double standard for men and women (two jobs versus one job) eventually brings about divorce.

Taylor 177

Amanda, pero tú me has puesto encima de tus alas y ahora quieres quitarme

de ahí a patadas. (46-7)

The preceding quotes show a desire by Pedrero to broach a new sociological phenomenon known as "individualism" or "individualization." In this section, the author touches on several topics all related to this trend that puts the will of the individual before (traditional) obligations to collective entities (family, offspring, clans, guilds, gender, religion, country...). The sociologists, Ulrich Beck and José Antonio

Marina, provide good working definitions of "individualism" in recent studies:109

Individualization consists in transforming human 'identity' from a 'given'

into a 'task' and charging the actors with the responsibility for performing

that task and for all the consequences (also the side-effects) of their

performance. (Beck 15)

Cada uno es legislador de su propia vida, juez de sus errores y vengador de

las ofensas sufridas. (Marina 115)

Echoing Beck, "Everyone must prove himself now" (Beck 24), Paula declares: "Tenía que hacerme persona" (39). Indeed, Pedrero endowed this protagonist with many of the characteristics of the new "self-centered" individual that both Beck and Marina identify in their reports:

Marriage:

"the new household [consist of] two autonomous individuals not necessarily

in love... The marriage will last just as long as the personal happiness of the

109 Beck, Ulrich. Individualization: Institutionalized Individualism and its Social and Political Consequences. Thousand Oaks, CA: SAGE Publications, 2002. Marina, José Antonio. Crónicas de la ultramodernidad. Barcelona: Editorial Anagrama, 2000.

Taylor 178

individual or pact is maintained." (Beck 72).

"[There exists] a significant rise in pre-marital, non-marital, extra-marital,

post-marital relationships.... which [are] no longer stigmatized" (Beck 43)

Procreation / Women:

"Motherhood is discarded as it nearly always means a considerable

restriction of everyday movement and future possibilities." (Beck 70)

Children are transformed into objects that one acquires for one's personal

pleasure. (Marina 73)

Egocentrism:

"Ya vivimos en la cultura del ego." (Marina 33)

"People are free to redefine rules around a personal standard, disregarding

past models." (Beck 60).

"[There is] more experimentation in alternative ways to live." (Beck 63)

Ideas on sex:

Personal sexual satisfaction in relationship is of great importance:

"Antes no había que ser bueno en el sexo, bastaba con hacerlo. Ahora nos

medimos frente a un ideal pornográfico." (Marina 74)

In a similar manner, Pedrero illustrates this ideology in Paula's character; the woman freely (re)defines the relationships in her life as she sees fit (an open marriage, sexual encounters, parenting as optional) in flagrant disregard to the sentiments of others.

Proud to be a self-made woman, she maximizes her options to triumph in her career and wields her clout for personal benefit. Here, the dramatist exposes a very pertinent social issue which doubtlessly affects her public. For a second time, Pedrero exposes the

Taylor 179 subject and asks spectators to draw a personal conclusion.

Climax

Likewise, Amanda and Paula clearly hold distinct views on individualism.

Qualifying her mother as "egocéntrica" (48), Amanda clearly condemns Paula's individualistic approach on life which has led her to spend too much time outside the home in search of self-fulfillment and self-realization. Alternatively, Paula perceives her daughter's argument of abandonment as unfair and immature. Gradually, the conflicting attitudes generate so much ill-will that the women need to recur to role-play to transcend the impasse and unleash their latent emotions.

Amanda -- Todo gira alrededor de tu ombligo.

Paula -- Ya. (Piensa un momento) Pues sabes una cosa, Amanda, tú

tienes mucho que ver con mi ombligo.

Amanda -- (Tocándola el vientre) El cordón de... aquí a aquí.

Paula -- (Hace un gesto decidido de cortarlo de tajo. Amanda se queda

realmente impactada) ¡Ya está! Tienes que volar. Tienes que

crecer, niña. Volar.

Comienza a diluviar. El ruido de agua sobre el cristal de la

claraboya es impresionante.

Amanda -- ¡No quiero volar! ¡No quiero!

Paula -- Sí, Tienes que hacerlo. (48)

In Pedrero's plays, a moment arrives when further communication and a swift resolution of the drama seem unlikely. Given that her obstinate characters refuse to reach a compromise or connect on the level that the audience requires, the author often creates

Taylor 180

seconds realities to break the stalemate. Pedrero informs in Sobre mi teatro:

No es fácil. Por eso yo muchas veces necesito recurrir al metateatro, teatro

dentro del teatro, como forma de conocimiento, como confesión. Los

personajes jugando a ser otros, sin el peso de su propio yo, consiguen decir,

llegar, actuar su propia verdad. (27)

Although Pedrero's outer story deals with lofty concepts such as individualization and

motherhood, the inner story is Amanda and Paula's search for the truth. On the one

hand, Paula still needs to assimilate that the infatuation of both women for Mario

motivated Amanda's ambush; also that the young Don Juan may not even be worth the

while. "¿Me has montado este número por Mario?" (47). Amanda, on the other hand,

yearns for more meaningful communication with her mother at a crucial moment in her

life but seems too proud or too hurt to ask for it. Paula instigates the above role-play in

an effort to reinforce her lesson on individualism; henceforth, Amanda will have to

struggle to survive alone in the world or "volar".110 However, the severing of the

umbilical chord triggers the daughter’s worse fears, for instance, a complete rejection

by her mother: "Me has dolido mucho aquí" (49) or that this separation might be

permanent: "Tú no te vas a morir" (49). After relative calm during the intellectual

reflection, the thunderstorm resumes and threatens to break the window. Seeing

Amanda doubled up in pain and sobbing, Paula rushes to comfort her daughter, taking

her in her arms and rocking her like an infant. Immediately, the mother reverts to the

110 Berardini's thesis dealt with "rites of passage" in earlier plays by Pedrero. She shows that these rites of passage occur generally in moments of crisis, can be (pseudo)religious and mark the passage of an individual from one stage in the life cycle to another (169-74). This concept can also be applied to La otra habitación. Symbolically, Paula initiates her into adult life following a crisis in self-identity (body image, insecurity or rejection by Mario).

Taylor 181 time when Amanda was a baby; she sings the lullabies she had previous written for her,111 and pledges her unconditional maternal love:

Quiero que sepas una cosa, Ami, quiero que sepas que aunque creo que he

escrito alguna obra buena, aunque hay alguna que me gusta mucho, la

mejor, la mejor que he hecho en mi vida, eres tú. (51)

Subsequently, Amanda feels at ease and sincerely repents for her mendacity. In addition she divulges her (former) feelings for Mario -- "él me trataba de una forma especial" (52) -- as well as her sense of betrayal upon reading his love letters to Paula --

"Te odiaba. A ti más que a él. A ti por ser tú. A ti por hacerme sombra hasta en lo más mío. A ti por estar en un lugar que no te corresponde" (52). Together, the two women rise above their differences to reconcile, pardon each other for past grievances, as well as promise to become close friends in the future. At the end, they embrace in one great moment of unity:

A partir de ahora, esta será la habitación de las dos. La otra habitación. El

lugar en el que desnudarnos. (53)

Clearly, Paula and Amanda’s role-play is accompanied by a cathartic reaction, both for the protagonists as well as the public. Ambiguously translated from Ancient Greek as

"a cleansing," Adnank Abdullah explains that Aristotle's concept of "catharsis" has taken on various secondary meanings ("purgation", "purification", "clarification" and

"communication") depending on the epoch and the author (Abdullah 9). Once more,

111 One example: "Las doce de la noche y hay luna llena / Te canto mil canciones y tú despierta. / Se ha levantado el viento, mamá te besa. / No te quites la sábana, no abras la puerta. / Duerme, duerme, mi Amanda, sopla la vela. / Al borde de la cama hay una estrella. / Que si tú no te duermes, el ogro llega / Y te come enterita por dentro y fuera. / Ea, que llegue el sueño, mi niña bella. / Ea, cosa bonita que el sol te espera" (49).

Taylor 182

Pedrero successfully integrates all variants. In this metatheatrical scene, the characters release the hard feelings which have built up inside them since the beginning of the drama. Likewise, they purify the essence of their relationship, start anew and clarify the mechanisms of their future entente. In the ensuing conversation, the two women validate each other's opinions and perspectives on life. The mood is jovial as Paula serves lasagna, caresses her daughter and jokes that she should really change her academic major from writing to acting after such a wonderful performance. Also, a more mature Amanda confidently swears to fight for the underdog and defend women's rights along with her mother (54-5). Amazingly, a happy ending seems plausible for the spectator who witnesses with satisfaction that a new family order has been created. The appearance of the sun highlights the notion that the crisis has passed. As Pruner stipulates, since "l'action est complète" (36), all enigma has been resolved, and no more obstacles remain, the curtain should now close and the play should end.

V. The double denouement

Fréquemment les tragédies possèdent un double dénouement,

l'un immédiat, l'autre plus lointain; et ils n'appartiennent pas

au même registre. (Couprie 37)112

In contrast to the first denoument, the second denouement transpires swiftly, at the end of the play, immediately after this brief period of peace that followed the climax

112 Frequently tragedies possess a double denouement, one immediately at the end, the other further back. The two have different registers.

Taylor 183

(Couprie 38). This cliffhanger takes the form of a telephone call that breaks the mother/daughter bliss. Answering the ring, Amanda finds an eager Mario at the other end of the line who, as the girl previous predicted, has returned to Madrid after being held up at the mountains during the storm. Although Paula has just uttered "Que lo zurzan" (53), she insists on taking the call and reconfirms their date. The atmosphere of the beginning of the play returns almost at once; Paula's goal of distancing Amanda from the flat reappears: "Vete, Amanda" (56); "A la calle" (57). Stating: "Tengo que probarlo, cielo. Tengo que saber porqué estoy en esa habitación de abajo con tu padre"

(57), Paula forgets her promises to her daughter and forces her out. Amanda's line at the conclusion of the first denouement now takes on new sinister airs: "A partir de ahora, esta será la habitación de las dos. La otra habitación. El lugar en el que desnudarnos" (53). However, the young character seems to accept the fait accompli:

"Folla si quieres. Pero no te enamores" (57) and attributes the strange finale to her mother's blindness "Ciega, ya está ciega" (57). The spectators watch incredulous as

Amanda leaves and Paula opens out the bed. Finally, they are left to ponder the meaning of Amanda's parting line: "Suerte por las dos" (58). As usual, Pedrero leaves the ending open; calamity may lurk on the horizon, yet hope springs eternal.113

Simon believes that the end of a play proves crucial for its success. On her checklist is "the crucial question, are you content with what you got?" (160) as well as

113 Despite a glimmer of hope, En la otra habitación would be considered a tragedy following Couprie's definition: "Plusieurs se sont imagine qu'un poème dramatique ne pouvait être nommé tragedie que si la catastrophe ne contenait la mort ou l'infortune des principaux personnages: mais c'est à tort, étant certain que ce terme ne veut rien dire, sinon une chose magnifique, serieuse, grave et convenable aux agitations" (37). Trad: Many people imagine that a drama can only be named a tragedy if the catastrophe includes the death or misfortune of the main characters: but that is wrong, certainly the term means nothing of the kind, only an action that is magnificent, serious, grave or convenient for agitations.

Taylor 184

"did you see the change -- inner change or outer change -- you wanted?" (161). Clearly, the work will delight those spectators in search of an intellectual sampling of contemporary social issues. Since her authentic hyperreal context parallels daily existence, some theater-goers may even awaken to see that these problems affect them personally. Perhaps they will even be inspired to make important changes in their lives or within their families: For example, if the play inspires a sincere dialogue between spouses or parents and children, the playwright would probably consider the play a success. As seen, Pedrero meticulously crafts her play using a wide variety of techniques learned from her experience and studies in theater -- integrating Aristotelian poetics and Brechtian philosophy -- to create an intense stage audience relationship.

The open-ended double denoument underscores the fact that Pedrero means the play to be seen as one alterable scene in a lifelong journey in which each individual is a major actor and critical thinker. Any inner or outer change involves reflection and a strong will. Excluded: passive viewers looking for diversion, relaxation, convoluted action or modern sets.

Taylor 185

Conclusion

Alienation in Pedrero's theater

Creo que un escritor, un autor dramático en este caso, está en todos sus

obras; en ellas, su biografía como seña de identidad ha de estar. Porque si

no está es que hay una falta de implicación, de compromiso profundo en su

escritura. Sin embargo, creo que lo mejor que puede ocurrir es que no se

note que está, que su pensamiento y su lenguaje no se reflejen en el primer

plano. Que haya que bucear, que sean los investigadores los que,

escudriñando en lo hondo, encuentren al autor. (Paloma Pedrero in Romera

Castillo 41)

In my dissertation, I have made a concerted effort to view Paloma Pedrero's work from a global perspective, integrating most of her works from her debut on the Spanish stage in the early 1980's to the present. Although many renown critics and scholars have shed light on the complexities of her rich and multi-faceted texts, I deemed that a study of the author's background would bring new insight into the essence of her theater. Indeed, my research quickly focused on the two crucial areas -- sociology and theatrics -- that have dually shaped Pedrero's mind frame since her double major in college in the 1970’s.

Consequently, both of the writer’s passions have left a deep imprint on her work and become her signature trademark. Pertinent sociological issues as well as gestalt theory continue to influence the content matter of her plays. Further, as seen, Pedrero skillfully employs a wide variety of techniques in dramaturgy -- influenced by Aristotle and

Brecht's theories as well as Buero and Alonso de Santos' hyperrealism... -- to transmit her alarm at the many social troubles plaguing modern society -- outlined particularly well in

Taylor 186

the grim picture she paints of Madrid in La isla amarilla. Pedrero typically refrains from stating explicitly her social viewpoints in any given play since her objective -- coaxing the audience into reevaluating key aspects of their culture -- requires critical reflection both during and after the performance so that the individual may deduce a social lesson and relate it to his/her daily life. Therefore, the playwright prefers creating enigmatic open-ended plays that minimize action and tease spectators by withholding

(perhaps indefinitely) key information regarding her character's conflicts. Thus, the spectator's role is to make (personal) sense out of the context facilitated by Pedrero.

Nevertheless, it is incorrect to assume that the author does not have a vested interest in her play's reception. During her writing process she meticulously crafts her plays to address the same poignant social issues -- unchecked consumerism, the lack of solidarity among individuals, victimization of the underdog -- to solicit a negative reaction from an alienated public who inevitably commiserate with the plight of her characters.

Cuando escribo, parto de dos puntos, o de una observación que me lleva a un

imaginario poético, o de una necesidad íntima que me lleva a una escritura

urgente. (Romera 41)

Pedrero's first point refers to the type of play addressed in Chapter 1. The playwright observes the context of a group of deviants, reflects on the nature of their predicament, then strives to defend their interests in her plays, recuperate the voice they were denied and, in the process, elevate their pathology to an aesthetic art form. Pedrero states:

"Cuando escribo desde la observación lo que hago es pasarla primero por mi interior, [y ] teñirla con lo mío" (Romera 42). "Lo mío" refers both to her background in sociology as well as to her personal mission to represent the common street folk of Madrid, who, by

Taylor 187

chance, are down on their luck. Given her humble origins, Pedrero feels that she herself

may have narrowly escaped a similar fate: "Siempre he pensado que yo podría terminar

en un parque con dos bolsas de plástico y hablando con las palomas, es una cosa que ha

estado ahí en mi cabeza y que sigue estando. No me resulta complicado meterme en el

pellejo de estos personajes" (42). The second point, as Chapter 2, alludes to the author's

urgent need to express her dissatisfaction on contemporary social issues -- i.e.

individualism, gratuitous violence, competition -- that bring about a climate of fear, bitter

conflicts, relationship failures in addition to emotional isolation. These characters, like

Pedrero with her spectators, long for effective interpersonal communication with positive

feedback. Most of the plays in second group take the form of short one-act two-person

dialogues.

Alienation is the common denominator of my three chapters: alienation from

participating in the fruits of society breeds deviancy, alienation in interpersonal

relationships causes breakups and loneliness, and alienation within the theater production

produces identification and/or distancing for the spectator to highlight social dysfunction.

Addendum: Alienation in the world of theater

Sadly, alienation may even play a role in the life of Pedrero herself. In an interview for

Estreno in 1999 with Eileen Doll, the dramatist complains of the challenges she faces to

stage her works in Madrid: "Estamos viviendo un momento en el que el arte, las letras, y

todo lo que tiene que ver con el espíritu y con esa formación íntima del hombre, tiene

poco mercado" (Doll 15). Once more, the root of the author's alienation seems to be

money; at the present time, commercialism appears to dominate every aspect of the

Taylor 188

Madrid theater scene. Besides the growing cost of staging a production (sets, costumes,

hiring actors...), many theater directors refuse to put on plays that do not guarantee

substantial financial incentives. Instead, they prefer staging plays by noted authors that

have already proven to attract large audiences: Pedrero laments: "Valle-Inclán, Lorca,

Lorca, Valle-Inclán, algún autor americano y poco más. No se ha potenciado en absoluto

la dramaturgia contémporanea de autores vivos" (Doll 14). As a result, young authors

such as Pedrero have few opportunities to perform their dramatic works in venues other

than salas alternativas. In fact, in a recent article for the Madrid periodical, "De teatro y pájaros" in La Razón (December 2004), Pedrero explains that in order to see one of her recent plays, En el túnel un pájaro (1997), spectators needed to wait years for a Cuban

group had to make the journey to Madrid:

Una compañía cubana y legendaria, La Hubert de Blanck, ha venido a

estrenar mi obra, “En el túnel un pájaro” al Festival Madrid Sur. Aquí no se

ha montado. Aquí se derriten por los autores franceses, por los que escriben

en inglés (somos un país paleto), por los poetas muertos maltratados en vida

(mezquindades). Así que tuvieron que venir desde la Habana para que

viéramos una nueva obra española. Para traernos además una puesta en

escena magistral, una lección de ética y estética abrazadas.

César Oliva agrees with Pedrero's assessment on the current state of Spanish theater and states: "Otra consecuencia negativa para el teatro español fue la paulatina desaparición del autor como motor de la producción estética" (Oliva 44) and "Casi todos los autores que hemos citado a lo largo... de los últimos cuarenta años tienen obras por estrenar. Y si no todos, la inmensa mayoría" (52). The critic also comments on a second major

Taylor 189

problem: "El teatro español... sufre un gran descenso en el número de espectadores"

(44). Likewise, Pedrero concurs and bemoans the increasing loss of spectators: "El

problema es cuando has puesto toda esa energía en escena y después no hay público"

(Doll 15). The author feels, however, that the setback is but a symptom of a larger issue;

theater suffers not for lack of potential appeal but due to widespread neglect by the

government and mass media: i.e. young people are hardly exposed to theater since

television, cinema, even sports... receive more publicity. Clearly, commercialism allied

with a new kind of censorship are managing to marginalize young artists such as Pedrero

even if their work continues to receive acclaim in academic circles.

En los teatros comerciales los ancianos pudientes se aferran a que nada

cambie en el mundo. En los teatros públicos se evoca a los grandes y a los

muertos entre oro y tecnología. Y a las cuatro cuevas del teatro alternativo

van los cómicos jóvenes y sus amigos a buscar la pureza, que de pureza viven

no de pesetas -- coplilla casual, lo juro. [¿Por qué?] Dicen lo de la

televisión, el paro, la crisis de valores no materiales, la vuelta al

conservadurismo, lo caro de la entrada, la pésima política cultural, la falta de

talentos... Todos echan la culpa a los demás. (Pedrero in her prologue to El

color de agosto)

Though Pedrero suffers from the same sociological problems as her characters --

oppression under the existing social order and a stage to communicate with others -- the

playwright remains quite optimistic. She views the future of theater in Spain -- just like

the destiny of her protagonists or the prospect of real social change -- as plausible, natural, but nevertheless difficult.

Taylor 190

Soy una persona esperanzada. Entonces yo tengo esperanza para el teatro.

Creo en el teatro como algo positivo para el ser humano. (Doll 19)

In any case, Pedrero, unlike her protagonists, is neither a conformist, nor an innovator, obviously not a ritualist or a retreater, and certainly not a rebel without a cause. The dramatist is a true rebel with a powerful undaunted vision: the future of social theater in

Spain. I am confident she will be heard.

Taylor 191

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Paloma Pedrero

Paloma Pedrero Díaz-Caneja nace en Madrid el 3 de Julio de 1957. Es licenciada en Sociología por la Universidad Complutense de Madrid y Diplomada en Psicología Gestáltica por el Instituto de Gestalt de Florencia. Realiza estudios de Interpretación y Dirección de escena con Zulema Katz, Dominic de Fazio y Alberto Wainer, y de Estructura Dramática con Jesús Campos y Fermín Cabal.

Trabajos como actriz

En teatro: Forma parte del grupo teatral Cachivache desde 1978 a 1984. "El baño del pájaro", de Leonard Melfi. "La casa de Bernarda Alba", de F. García Lorca. "Propiedad embargada", de Tenessee Williams "En el corazón del teatro", de Guillermo Heras. "La llamada de Lauren", de Paloma Pedrero 1985. "Acciones", creación colectiva 1988. "Aliento de equilibrista", de Isabel Ordaz y Paloma Pedrero 1994. "Solos esta noche" de Paloma Pedrero, 1997. Desde esta fecha solo realiza lecturas dramatizadas y representaciones de sus obras breves para ilustrar sus conferencias.

En cine: El pico 2, dirigida por Eloy de la Iglesia Café, coca y puro, dirigida por Antonio del Real. Ha participado en diversos cortometrajes y series de televisión.

Como autora teatral

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* "La llamada de Lauren" (1984), estrenada en 1985 en el Centro Cultural de la Villa de Madrid. Dirección de Alberto Wainer. * "Resguardo personal" (1985), estrenada en el Taller de autores del Centro Nacional de Nuevas Tendencias Escénicas en 1986. Dirigida por Paloma Pedrero. * "Invierno de luna alegre" (1985), estrenada en el Teatro Maravillas de Madrid en 1989. Dirigida por la Paloma Pedrero. * "Besos de lobo" (1986), estrenada en Hobart and William Smith Colleges, California en 1991. Traducción y dirección a cargo de Jennifer Cona. Lectura escenificada en el Royal Court Theatre de Londres (11-abril-97). Traducción Roxana Silver. Dirección Philip Howard * "El color de agosto" (1987), estrenada en el Centro Cultural Galileo de Madrid en 1988. Dirección de Pepe Ortega, * "Las fresas mágicas" (1988), obra infantil estrenada en el Teatro Infanta Isabel de Madrid en 1988. Dirección de Pepe Ortega. * "La isla amarilla" (1988). Ayuda a la creación teatral del Ministerio de Cultura. Estrenada en la Cárcel de Carabanchel Mujeres por el grupo "YESES". Dirección: Elena Cánovas. Diciembre 1995. * "Noches de amor efímero" (1989), estrenada en el Teatro Alfil de Madrid en 1990. Dirección de Jesús Cracio. * "Una estrella" (1990). Realizada con la Ayuda a la creación teatral del Ministerio de Cultura. Lectura dramatizada en el Festival de Aviñón, 1994 por la Compañía francesa "Arguia". Estrenada en Saint Paul les Dax, Francia, el 24 de Febrero de 1998. Estrenada en el Teatro Romea de Murcia el 6 de Marzo de 1998. Dirigida por Panchika Velez y Paloma Pedrero. "First Star" Estrenada en Virginia, en Hofheimer Theater, el 26 de Marzo de 1.998. Traducida y dirigida por Rick Hite. * "De la noche al alba" (1992). Lectura escenificada en el C. Cultural de la Villa de Madrid. Mayo, 1995. Dirección Elena Cánovas. Lectura dramatizada en el Teatro Metropol de Tarragona. Abril 1997. (Robert Muro y Paloma Pedrero) * "Aliento de equilibrista" (1993), obra poética escrita en colaboración con Isabel Ordaz, estrenada en el Centro Cultural de la Villa de Madrid en 1993. Dirección de Pepe Ortega. * "El pasamanos" (1994/95). Lectura dramatizada en El Escorial (Universidad de Verano) (Ana Diosdado y Agustín González) 1996. Estrenada en el Teatro Nacional de

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Costa Rica, Octubre, 1999. * "Locas de amar" (1994). Estrenada en el Centro Cultural de la Villa de Madrid el 11 de Abril de 1996. Dirección: Paloma Pedrero. * "La noche que ilumina" (Octubre 1995) * "Cachorros de negro mirar" (Diciembre 1995) Estrenada en la Sala Cuarta Pared de Madrid, el 7 de enero de 1999. Dirección de Aitana Galán. * "Del deseo y la muerte" (Julio-Diciembre 1997) * "En el túnel un pájaro" (Diciembre 1997) Estrenada en la Habana el 19 de Abril de 2003. * “Las aventuras de Viela Calamares” (Diciembre de 1998, escrita en colaboración con Ana Rosetti y Margarita Sánchez) Publicada por Alfaguara. * “Viela, Enriqueto y su secreto” (Diciembre de 1998, escrita en colaboración con Ana Rosetti y Margarita Sánchez) Publicada por Alfaguara *El drago dragón. (Septiembre 2003, escrita en colaboración con Ana Rosetti y Margarita Sánchez. *"En la otra habitación" (2003) *"Magia Café” (2004) *"Ana el once de Marzo" (2004)

Ha estrenado también en los siguientes países: Estados Unidos, Francia, Portugal, Brasil, Argentina, Puerto Rico, Cuba, Costa Rica, Chile, México, Chekia, Eslovaquia, Italia, Inglaterra…

Obras teatrales publicadas

* "La llamada de Lauren", Editorial Antonio Machado, Madrid, 1987 (2ª edición). * "Besos de lobo"/"Invierno de luna alegre", Editorial Fundamentos, Madrid, 1987. * "Resguardo personal", en Dramaturgas españolas de hoy (Edición de Patricia O'Connor), Editorial Fundamentos, Madrid, 1988. * "El color de Agosto", Editorial Antonio Machado, Madrid, 1989. (2ª edición) * "Esta noche en el parque", (de Noches de amor efímero), Revista Estreno, Pennsylvania, 1990. * "Noches de amor efímero", Publicaciones de la Universidad de Murcia, Murcia, 1991. Ediciones SGAE, Madrid, 1994

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* "Una estrella", Editorial La Avispa, Madrid, 1995. Ediciones Teatro del Alma, Madrid, 1998 * "De la noche al alba", en la reedición de "Noches de amor efímero", Ediciones de la Sociedad General de Autores y Editores, Madrid, 1995. * "El pasamanos", Revista Primer Acto. Nº 258. II/1995. * "La Isla Amarilla", Editorial Ñaque. Ciudad Real, 1995. * "Locas de amar", Ediciones SGAE, Madrid, 1997. * “Cachorros de negro mirar”, Ediciones Teatro del Alma, Madrid,1999. * “Las aventuras de Viela Calamares”, Alfaguara, Madrid, 1999. * “Juego de noches. Nueve obras en un acto”, Cátedra, Letras Hispánicas, Madrid, 1999. * “Viela, Enriqueto y su secreto”, Alfaguara, Madrid, 1999. * Piezas breves en diferentes revistas y libros como Art teatral, Monólogos en la AAT, La Razón, etc Sus obras se han traducido y publicado a una docena de lenguas.

Actividad pedagógica

Durante los años 1987 y 1988 imparte clases de teatro en el Instituto García Lorca, de Madrid. Desde 1990 ha dirigido numerosos talleres de Escritura Dramática en Centros Teatrales y Universidades en España y diversos países latinoamericanos. Es profesora de Interpretación y Dramaturgia en la Escuela T.A.I., de Madrid. Premios Cabe destacar entre sus obras premiadas: Segundo premio de Teatro Breve de Valladolid (1984) a "La llamada de Lauren". Accesit en el I Premio Nacional de Teatro Breve de San Javier (1987) a "El color de agosto". Premio Tirso de Molina (1987) a "Invierno de luna alegre". Premio a la Mejor autoría de la VI Muestra Alternativa de Teatro del Festival de Otoño de Madrid (1994) por "Noches de amor efímero"/"Nuits d'amour éphémère" presentada por la Compañia francesa ARGUIA THEATRE dirigida por Panchika Velez, y por "Invierno de luna alegre" del grupo madrileño YESES, dirigido por Elena Cánovas. Premio de la Crítica Villanueva en La Habana (Cuba) Por “En el túnel un pájaro” (2003)

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Premio de la Crítica y del Público en Roma, dentro del festival de autores europeos “Actores en busca de autor” por “Noches de amor efímero” (2004)

Como directora de escena:

TÍTULO: Invierno de luna alegre DE Paloma Pedrero COMPAÑÍA: Pentación, S.A. - Espectáculos ESTRENO: Noviembre de 1989, Teatro Maravillas, Madrid PREMIOS RECIBIDOS: El texto fue Premio Tirso de Molina en 1987 ESCENOGRAFÍA, ESPACIO ESCÉNICO: Gabriel Carrascal VESTUARIO: Gabriel Carrascal MÚSICA ORIGINAL, ESPACIO SONORO: Fernando Martín ILUMINACIÓN: Felipe Gallego (DDT/S.A.) AYTE. DIRECCIÓN: Roberto Cerdá DISEÑO GRÁFICO: Alberto R.Reyna REPARTO: OLEGARIO Juanjo Menéndez REYES Natalia Dicenta EL PIÑA Carlos Marcet VÍCTOR Fernando Veloso FÉLIX Fernando Ransanz

II TÍTULO: Locas de amar DE: Paloma Pedrero COMPAÑÍA: Ramón Mesal y Robert Muro ESTRENO: 11 de abril de 1996, Centro Cultural de la Villa, Madrid ESCENOGRAFÍA, ESPACIO ESCÉNICO: Rafel Garrigós VESTUARIO: Ana Rossetti MÚSICA ORIGINAL, ESPACIO SONORO: José Bau ILUMINACIÓN: Tom Donnellan AYTE. DIRECCIÓN: José Bau DISEÑO GRÁFICO: Javier G. Del Olmo REPARTO: EULALIA DE LA BELLAVISTA Mª José Goyanes CARLOS JIMÉNEZ Juan Ribó ROCÍO Cristina Goyanes PACO GARCÏA REINO Miguel Ángel Godó LEONILO Juan Carlos Talavera SÁINZ José Bau

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III TÍTULO: Una estrella (Co-dirección) DE: Paloma Pedrero COMPAÑÍA: Teatro del Alma ESTRENO: 6 de marzo de 1998, Teatro Romea, Murcia ESCENOGRAFÍA, ESPACIO ESCÉNICO: Ana Garay AYTE. DIRECCIÓN: Mariano de Paco Serrano CO-DIRECCIÓN: Pantxika Vélez REPARTO: Isabel Orgaz Pancho García Luis Hostalot Juan Carlos Talavera OTROS DATOS: El espectáculo tuvo un pre-estreno en Saint Pau de Dax (Francia) el 25 de febrero de 1998. El mismo espectáculo también se estrenó en Estados Unidos algunos días después, el 21 de marzo. CRÍTICAS: Febrero-1998 (Tiempo 16); 9-3-1998 (El Mundo; Javier Villán); 10-3-1998 (La Opinión; Javier González Soler); 12-3-1998 (El Norte de Castilla)

IV TÍTULO: Noches de amor efímero (Esta noche en el parque, La noche dividida, De la noche al alba, Solos esta noche) DE: Paloma Pedrero COMPAÑÍA: TAI ESTRENO: 24 de junio de 2000, Centro Cultural Buenavista, Madrid ESCENOGRAFÍA, ESPACIO ESCÉNICO: Alonso Díez San José y Marta Hernáez Glück VESTUARIO: Vanesa Serrano y Laura Vela ILUMINACIÓN: Cristóbal Rodríguez y Pablo Moré AYTE. DIRECCIÓN: Miguel Sánchez y Juan Alberto de Burgos MAQUILLAJE Y PELUQUERÍA: Marisa Pintor y Lorena Marcelo REPARTO: Esta noche en el parque YOLANDA Ainhoa Esteban Olivera FERNANDO Fernando Lacaci

La noche dividida SABINA Laura Vela/Almudena Moratalla ADOLFO Antonio Taboada JEAN LUC Javier Redondo/Fernando Lacaci

De la noche al alba VANESA Vanesa Serrano/Lorena Marcelo MAURO Fernando Lacaci/Javier Redondo YONKI Juan Alberto de Burgos

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RAMÓN Antonio Taboada/Fernando Lacaci

Solos esta noche CARMEN Almudena Moratalla JOSE Antonio Taboada

V TÍTULO: Resguardo personal DE: Paloma Pedrero COMPAÑÍA: Taller de Autores del Centro Nacional de Nuevas Tendencias Escénicas ESTRENO: 1986, Taller de Autores del Centro Nacional de Nuevas Tendencias Escénicas, Madrid REPARTO: María Luisa Borruel Jesús Ruyman OTROS DATOS: El estreno se produce en el marco de un espectáculo compuesto de obras cortas de varios autores (Jesús Campos, Ignacio del Moral, Yolanda García Serrano, Maribel Lázaro, Luis Araújo, José Manuel Arias...)

VI TÍTULO: Pic-nic DE: Fernando Arrabal COMPAÑÍA: Asociación RAIS (Red de Apoyo a la Inserción Laboral) ESTRENO: 19 de junio de 2000, Teatro Alfil, Madrid VESTUARIO: Marisa Bartolomé MAQUILLAJE: Miriam Cerrudo AYTE. DIRECCIÓN: Rafael del Campo REPARTO: ZAPO José Rojo Pinto SRA. TEPON Candelaria Gutiérrez SR. TEPON Teófilo Calle ZEPO Javier Gómez de la Serna CAMILLERO 1 Vladimir Tzecov CAMILLERO 2 Carlos Ortega

OTROS DATOS: Tras una lectura en la sede de RAIS, la representación se inserta en una programación variada con la que la Asociación RAIS celebró el 1º Aniversario de El Rincón del Encuentro y el 2º Aniversario de la revista También contamos. La mayoría de los actores eran indigentes.

LECTURAS DRAMATIZADAS

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I TÍTULO: Las señoritas de Siam DE: Ever Martín Blanchet COMPAÑÍA: SGAE - El Muro Producciones Teatrales ESTRENO: 8 de febrero de 1996, Sala Manuel de Falla, SGAE, Madrid OTROS DATOS: María José Goyanes, Ana Marzoa y Javier Mangado componían el reparto

Otros Es conferenciante asidua sobre temas relacionados con la actualidad del teatro español y ha publicado numerosos artículos sobre el particular en revistas especializadas. Colabora en diversos periódicos y es columnista semanal del diario LA RAZON.

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