référence : http://listes.cru.fr/arc/mascarene/1997-11/msg00060.html

Theatre radical, annees 30, France et Espagne ana.romero

Recently, a new anthology on Spanish short theatre (18..- 1940)
has been published including chapters on Alberti, M. Hernandez and  

Lorca's theatre. There is a chapter devoted to theatre during the
civil war, or "urgency" theatre.  

Apart from these, I would not say there are many radical writers, or
that there is such a thing as a radical theatre in Spain during the
30s. On the other hand, the avant-garde experiments of this period
by Dali, Buñuel, etc. were closer to performatic events (usually
recorded as biographical anecdotes) than to theatrical intents. I
believe our historical situation did not favour the emergence of
civil forms of theatrical culture. Especially because of poverty and
lack of literacy. Religious (i.e. pasiones, misterios, procesiones)
and popular forms (i.e. zarzuela, a sort of musical operete) grew
more easily, since they did not rely on literacy (children education
was only regulated in this period). In Catalonia, though, (a much
more wealthy region) the worker's theatre was still very much on a
XIX c. tradition since the beg. of the century. And I guess that
many forms of popular demonstration (i.e.jocs florals- poetry
contests-, political gatherings) other than theatre supplied this
subversive function.

Therefore, I would coincide with other participants (but for
different reasons) in questioning the category "radical": are we
using it in material/institutional or aesthetic sense? or in both?.
Isn't it directly dependent on the existence of a consistent civil
society with class and citizen conscience? Isn't it an essentially
URBAN phenomenon?  

These are just questions that come to my mind in view of the debate
on the French situation during the same period.

Ana Romero
Pompeu Fabra University
Barcelona, Spain