El impulso renovador en las tablas argentinas y españolas entre 1920 y 1949: algunos paralelismos Public Deposited

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  • March 20, 2019
  • Caballero-García, María-Begoña
    • Affiliation: College of Arts and Sciences, Department of Romance Studies
  • The predominance of trivial themes and stereotypical characters represented in most of the plays performed in the commercial theatre of the decades of the twenties, thirties and forties in Spain and Argentina determined that they would be pejoratively described as of "low quality." Some critics have even talked about a "crisis in theater." Both nations responded to this "perceived crisis" in similar fashion, mostly by developing groups of "Independent Theater," and staging plays by innovative directors and new and original playwrights. This dissertation studies the ways in which the theater of Spain and Argentina responded to their precarious drama situation and analyzes the similar ways on which they contributed to the improvement of their own national theaters. The first chapter examines the socio-historical situation in Spain and Argentina and how it affected the stage. I discuss the "crisis in theater" in both nations and their connections concerning companies, actors, writers and critics. The second chapter focuses on the "Independent Theater" that emerged in these two countries and that shared the pedagogical objective of educating the taste of the audience. I specifically focus on the parallelisms between two of these groups, one on each side of the Atlantic, which share the name "Teatro del Pueblo." The analysis of parallelism between two plays--La sirena varada (1934) by the Spaniard Alejandro Casona and La cola de la sirena (1941) by the Argentinean Conrado Nalé Roxlo--is the topic of my third chapter. I consider these plays representatives not only of the new wave of authors but also of the theatrical interconnections between the two countries. This transatlantic study foregrounds the complex relationships between the stages of Argentina and Spain during the fist half of the century, and problematizes the lack of interaction between both stages promoted by previous criticism.
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  • Salgado, María Antonía
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