{"id":733,"date":"1998-01-15T14:08:46","date_gmt":"1998-01-15T13:08:46","guid":{"rendered":"http:\/\/blog.uclm.es\/joseasanchez\/?p=733"},"modified":"2025-06-28T15:23:10","modified_gmt":"2025-06-28T15:23:10","slug":"the-impossible-theatre-1998","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/joseasanchez\/1998\/01\/15\/the-impossible-theatre-1998\/","title":{"rendered":"The Impossible Theatre"},"content":{"rendered":"\n<h3 class=\"wp-block-heading\">The Spanish Stage in the Time of Avant-Garde. <\/h3>\n\n\n\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"669\" height=\"1024\" src=\"https:\/\/blog.uclm.es\/joseasanchez\/wp-content\/uploads\/sites\/195\/1998\/06\/1998.-Impossible-Theatre.jpg\" alt=\"\" class=\"wp-image-3796\" style=\"width:227px;height:auto\" srcset=\"https:\/\/blog.uclm.es\/joseasanchez\/wp-content\/uploads\/sites\/195\/1998\/06\/1998.-Impossible-Theatre.jpg 669w, https:\/\/blog.uclm.es\/joseasanchez\/wp-content\/uploads\/sites\/195\/1998\/06\/1998.-Impossible-Theatre-196x300.jpg 196w\" sizes=\"auto, (max-width: 669px) 100vw, 669px\" \/><\/figure>\n\n\n\n<p>This article offers a general overview of the new Spanish theatre during the twenties and thirties. The first section covers the trends in stage renovation promoted by Rivas Cherif, Valle-Incl\u00e1n and Garc\u00eda Lorca, among others, and reviews the main premieres, both in the professional and in the experimental and university fields. The second section attempts to synthesize the ideas derived from the texts of playwrights and critics which could form part of models, not applied in their time, attempting to show the parallels between these authors and avant-garde European theatre of the period.<\/p>\n\n\n\n<p>\u201cThe impossible theatre. The spanish stage in the time of avant-garde\u201d&nbsp;[Translated by Jill Pythian], <em>Contemporary Theatre Review<\/em>, vol. 7, part 2 (<em><a href=\"http:\/\/books.google.es\/books?id=1HLB2yMnGycC&amp;printsec=frontcover&amp;dq=Spanish+Theatre+1920&amp;hl=es&amp;ei=nM4ITem9N5K0hAf4w6ywDw&amp;sa=X&amp;oi=book_result&amp;ct=result&amp;resnum=1&amp;ved=0CCkQ6AEwAA#v=onepage&amp;q&amp;f=false\" target=\"_blank\" rel=\"noreferrer noopener\">Spanish Theatre 1920-1995. Strategies in protest and imagination<\/a><\/em> (1), edited by M. Delgado), Manchester, 1998, pp. 7-30. ISSN: 1048-6801 \/ ISBN: 90-5702-099-8. <\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>\u00abRight now, generally speaking, [Spanish theatre] is theatre for pigs, by gis. It\u2019s theatre made by pigs, aimed at pigs\u2019. That was Garc\u00eda Lorca\u2019s crushing response in 1933 when a journalist, after having interviewed him about La Barraca, wanted to know the poet\u2019s opinion on contemporary professional theatre in&nbsp;Spain.<a title=\"\" href=\"\/Documents%20and%20Settings\/Jos%C3%A9%20A.%20S%C3%A1nchez\/Mis%20documentos\/Web\/Teatro%20imposible.doc#_ftn1\" name=\"_ftnref1\">[1]<\/a>&nbsp;Lorca\u2019s pronouncement is reminiscent of Artaud\u2019s famous remark about writers, though in the Spaniard\u2019s case the virulence and bitternes seem more justified. With similar scorn, Valle-Incl\u00e1n had declared a few years previously that he had never written, nor would he ever write for Spanish actors,&nbsp;<a title=\"\" href=\"\/Documents%20and%20Settings\/Jos%C3%A9%20A.%20S%C3%A1nchez\/Mis%20documentos\/Web\/Teatro%20imposible.doc#_ftn2\" name=\"_ftnref2\">[2]<\/a>&nbsp;and his theatrical creations were in fact kept much further away from the professional stages of&nbsp;Madrid&nbsp;than those of Lorca. [&#8230;]<\/p>\n\n\n\n<p>Download the complete text:&nbsp;<a href=\"https:\/\/blog.uclm.es\/joseasanchez\/wp-content\/uploads\/sites\/195\/2025\/06\/1998.-Imposible-Theatre.compressed.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">The Impossible Theatre<\/a><\/p>\n\n\n\n<p>Spanish version: <a href=\"https:\/\/blog.uclm.es\/joseasanchez\/1998\/06\/14\/el-teatro-imposible-1998\/\">El teatro imposible: La escena espa\u00f1ola en la \u00e9poca de vanguardias<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Spanish Stage in the Time of Avant-Garde. This article offers a general overview of the new Spanish theatre during the twenties and thirties. The first section covers the trends in stage renovation promoted by Rivas Cherif, Valle-Incl\u00e1n and Garc\u00eda Lorca, among others, and reviews the main premieres, both in the professional and in the [&hellip;]<\/p>\n","protected":false},"author":285,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[151],"tags":[],"class_list":["post-733","post","type-post","status-publish","format-standard","hentry","category-text"],"_links":{"self":[{"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/posts\/733","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/users\/285"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/comments?post=733"}],"version-history":[{"count":8,"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/posts\/733\/revisions"}],"predecessor-version":[{"id":3803,"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/posts\/733\/revisions\/3803"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/media?parent=733"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/categories?post=733"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/joseasanchez\/wp-json\/wp\/v2\/tags?post=733"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}