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University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 0011181 The historical drama in Spain during the postwar and the transition to democracy Habegger, Kimberly Anne, Ph.D. The Ohio State University, 1989 Copyright ©1080 by Habegger, Kimberly Anne. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 THE HISTORICAL DRAHA IN SPAIN DURING THE POSTWAR AND THE TRANSITION TO DEMOCRACY DISSERTATION Presented in Partial Fulfillment of thB Requirements for the Degree of Doctor of Philosophy in the Graduate School of the Ohio State University By Kimberly Anne Habegger, B.S., M.A. The Ohio State University 1983 Reading Committee: Approved By Dr. Stephen J. Summerhill Dr. Grinor Rojo Dr. Josephat Kubayanda Adviser Department of Romance Languages and Literatures Copyright by Kimberly Anne Habegger 19B9 ACKNOWLEDGMENTS I am veru grateful to Dr. StBphBn J. SummBrhill for his guidance and insight throughout this project. Thanks also to Drs. Grinor Rojo and Jo b Kubaganda for serving on mg reading committee. To mg husband, Chris, and mg familg, I offer thanks for gour unlimited patience and support. ii UITA v July 17, 195B....................... Born - Wheeling, West Uirginia June, 1S7S.......................... B.5., Ohio State University. Columbus OH 1979-19B1........................... Graduate Teaching Associate, Department of Romance Languages, Ohio State University, Columbus OH June 19B1........................... fl. A., Ohio State University, Columbus OH August 19BS-19B6.................... Graduate Teaching Associate, Department of Romance Languages, Ohio State University, Columbus, OH August 19B6-B7...................... Uisiting Instructor, Department of Modern Languages, Kenyon College, Gambier OH August 19B7-B9...................... Lecturer, Department of Modern Languages, Baylor University, Ulaco TX August 19B9......................... Assistant Professor, Department of Modern Languages, University of Colorado, Denver FIELDS OF STUDY Major Field: Contemporary Spanish Literature 5tudies in Peninsular Literature of the Eighteenth, Nineteenth and Twentieth Centuries iii TABLE OF CONTENTS ACKNOWLEDGMENTS......................................... ii UITA.................................................... iii CHAPTER PAGE ONE: INTRODUCTION.......................................... 1 1. Toward a Definition of the Field of Study.... 3 S * Hi stor i ca1 Element s..........................I0 3. History and the Structure of Dramatic Action.IS 4. History as Magnification..................... S3 5. Uision of History.............................SS 6. Development of Historical Drama in Spain......... 33 7. Historical Drama of the Postwar.............. 4B TWO: THE INITIAL MANIFESTATIONS OF HISTORICAL DRAMA...... BS 1- Un sonador para un DUBblo.................... B7 2. E1... prpcescuiel....grzpb i spp-Carxenza.........................bh 3. Las Meninas.................................. 114 THREE: THE PHASE OF DRAMATIC EXPERIMENTATION............ 136 1. Series flus-fuerpn famP5as.flsL.LiDna.lgu i a Ffendanca. ............................... 14S 2 . C renises re.me.nas......................................... ................160 3. Las .arrecgfljjts. J b.,Beaterie San.ta Dana Eolpciaca.................................. 1B1 FOUR: THE RETURN TO REALISM............................. 204 1. La traoicomBdia del SBrenisimo Principe dan C arlo s............................................................................ 210 S. CeiTIQ ........................................................................ 237 3 • Las bicicletas son para .Bl_VBrapo...........257 CONCLUSIONS............................................... 200 BIBLIOGRAPHY.............................................. 2BB iv CHAPTER I INTRODUCTION The proliferation of historical drama during the postwar period and the transition to democracy C1975-82) in Spain is a phenomenon that has been recognized and analyzed by a number of literary critics. Francisco Ruiz Ramo'n points out that in contemporary Spain the return to this type of drama, "suele producirse desde una conciencia histories de las contradicciones del presente, con intencion de revelar las fuerzas, subrepticias o patentes, que lo configuran” CEstudios 215). Martha Halsey has also written about postwar historical drama in Spain, focusing on several plays ("Dramatic Patterns”). Nevertheless, as Ruiz Ramon notes in his ”Justification” to the EstrBnp issue dBdicatBd to historical drama in modern Spain C14.1), there have been few general studies on post World War II, historical theater. He mentions thB importance of Lukacs’ ThB Historical Novel and Lindenburger*s Historical Drama, both of which are relied on heavily in this study. Ule will begin with the understanding that the history play is a product of the interaction between the literary and social norms of the dramatist’s present and the past as 1 s interpreted during this later period. The essential elements of postwar and transitional historical drama, as well as artistic and social aspects and the relation between them, will be analyzed and contrasted. In short, we will attempt to explain the proliferation of historical drama in the postwar period, to characterize this dramatic production, to trace its development, and to study certain characteristic examples. Although of great interest, the development of historiography presented in studies such as Uilkander’s The Plau of Truth and StatB. lies beyond the scope of these objectives. The interaction between literature and history, art and reality, makes the study of historical drama a challenging task. As Lindenburger observes: ”... historical writings, whether we classify them simply as history or among the traditional literary forms, makB a greater pretense at engaging with reality than do writings whose fictiveness we accept from the start. The very term ’historical drama’ suggests the naturB of this engagement, with the first word qualifying the fictiveness of the second, the second questioning the reality of the first” Cx). The relationship between drama, which can be viewBd as artistically autonomous, and the external world, which nonetheless lies at the origin of this text is an aspect to be considered in the analysis of the plays. In thB casB of historical drama, the 3 complexitiy of this relationship manifests itself more openly due to the public nature of the events portrayed. 1 • Touiard a Definition of the Field of Studu Before beginning, uie must formulate a clear definition of the field of study. As indicated in the title, the area to be analyzed is the Spanish historical drama of the postuiar and transitional periods. It is necessary to ascertain what is meant by each of these terms before continuing with more profound analytical concerns. 1 .1 . Spanlsh-Pciain By "Spanish,’' it is understood that the plays are written in Spain, about Spanish history, by Spanish dramatists, for an implied Spanish public. Therefore, history plays written by dramatists in exile are not within the scope of this study. Two such examples are NochB de BUBrr.fiL.BI1 -Bl—DUSBP del PradQ and El caballero dB las espuelas de oro bu Rafael Alberti and Alejandro Casona, respectively. Neither will we discuss plays on Spanish history written by non-Spaniards, nor plays written by Spaniards on the history of other nations. Then too, there is the problem of staging. Due to the imposition of censorship, which will be studied in some detail later, many works never reached the Spanish stage. 4 ThB problem, however, Is that if texts by dramatists such as Alfonso Sastre and Martin Recuerda were not included, uie would be overlooking some of the most important works of the period. Therefore, w b will also consider texts that wBre not seen by a contemporary Spanish public. Although in a generally implicit manner, the works studied here represent the perspective of the political opposition in the postwar