University of Cincinnati

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 Taylor 1 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 Taylor 2 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. Taylor 3 Blank page Taylor 4 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. Taylor 5 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 Taylor 6 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). Taylor 7 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

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