This is a study of the Spanish dramatist RamØn del Valle-Inclan (1866-1936). John Lyon shows that Valle has links with two avant-garde movements: the turn of the century Symbolism associated with Maeterlinck and Yeats, and the anti-tragic values which surfaced in the 1920s and culminated in Absurdism.
The plays studied in this book constitute veritable landmarks in the affirmation of the dramatic voice of Spanish playwright Ramon del Valle-Inclan. The three plays, as this study shows, prove crucial to the development of a theatre of unparalleled innovative force in the annals of twentieth-century Spanish letters.
Written in the early 1920s, Lights of Bohemia is set in the twilight phase of Madrid's bohemian artistic life against the turbulent social and political background of events between 1900 and 1920.
Among the great figures of European modernism, Ramón Maria del Valle-Inclán (1866-1936) remains relatively unknown and unappreciated outside his native Spain. His large and diverse oeuvre includes prose, poetry, drama as well as critical and journalistic essays. His deeply personal belletristic style evolved from the symbolist aesthetic to the more mature variant of expressionism of his output in the 1920s and '30s, which he termed esperpento. This volume presents translations of his dramatic trilogy Comedias Bárbaras (Savage Comedies), consisting of Cara de plata (Golden Boy, 1922), Águila de blasón (The Blazoned Eagle, 1907) and Romance de Lobos (Wolves Rampant, 1908), together with notes and an introduction that will provide readers with historical and biographical context.
There follows an up-to-date bibliography of the plays, from editions contemporary with the author through those published posthumously; it includes translations of the dramas into many languages, as well as a selection of critical studies worldwide."--Jacket.
Beginning with a reassessment of the 1920s and 30s, this text looks beyond a consideration of just the most successful Spanish playwrights of the time, and discusses also the work of directors, theorists, actors and designers.
Las galas del difunto/ The Dead Man's Finery (1926) and La hija del capitán/ The Captain's Daughter (1927) are two of four tragic farceswritten by Ramón del Valle-Inclán for the theatre. Translated here for the first time into English, the plays demonstrate the dramatist's evolving theory of the esperpento as a satirical genre.
The book constitutes the first attempt to provide an overview of the reception of foreign drama in Spain during the Franco dictatorship. John London analyses performance, stage design, translation, censorship, and critical reviews in relation to the works of many authors, including Noel Coward, Arthur Miller, Eugene Ionesco, and Samuel Beckett. He compares the original reception of these dramatists with the treatment they were given in Spain. However, his study is also a reassessment of the Spanish drama of the period. Dr London argues that only by tracing the reception of non-Spanish drama can we understand the praise lavished on playwrights such as Antonio Buero Vallejo and Alfonso Sastre, alongside the simultaneous rejection of Spanish avant-garde styles. A concluding reinterpretation of the early plays of Fernando Arrabal indicates the richness of an alternative route largely ignored in histories of Spanish theatre.