Contemporary Catalan Theatre

CONTEMPORARY
CATALAN THEATRE
AN INTRODUCTION
Edited by
David George & John London
1996
THE ANGLO-CATALAN SOCIETY
THE ANGLO-CATALAN SOCIETY
OCCASIONAL PUBLICATIONS
No. 1 Salvador Giner. The Social Structure of Catalonia

(1980, reprinted 1984)
No. 2 Joan Salvat-Papasseit. Selected Poems (1982)
No. 3 David Mackay. Modern Architecture in Barcelona (1985)
No. 4 Forty Modern Catalan Poems (Homage to Joan Gili) (1987)
No. 5 E. Trenc Ballester & Alan Yates. Alexandre de Riquer (1988)
No. 6 Salvador Espriu. Primera història d'Esther with English version by Philip
Polack and Introduction by Antoni Turull (1989)
No. 7 Jude Webber & Miquel Strubell i Trueta. The Catalan Language: Progress
Towards Normalisation (1991)
No. 8 Ausiàs March: A Key Anthology. Edited and translated by Robert Archer
(1992)
No. 9 Contemporary Catalan Theatre: An Introduction. Edited by David George í
John London (1996)
© for this edition by David George & John London

© for the individual essays by the authors
Produced and typeset by Interleaf Productions Limited, Sheffield

Printed by The Cromwell Press, Melksham, Wiltshire
Cover design by Joan Gili
ISBN 0-9507137-8-3
Contents
Acknowledgements 7
Preface 9
List of Illustrations 10
Introduction 11
Chapter 1 Catalan Theatrical Life: 1939-1993

Enric Gallén 19
The Agrupació Dramàtica de Barcelona 22
The Escola d'Art Dramàtic Adrià Gual and Committed Theatre 24
The Final Years of the Franco Regime 27
The Emergence of Resident Companies after the End of Francoism . . .29
Success Stories of the 1980s 35
The Future 37
Chapter 2 Drama and Society

RodolfSirera
(with a supplement on Josep Lluís & Rodolf Sirera by John London) 43
Joan Oliver 44
Salvador Espriu 47
Josep Maria Benet i Jornet 51
Jordi Teixidor 57
Josep Lluís & Rodolf Sirera 60
Chapter 3 Avant-Garde Drama

David George & John London 73
Joan Brossa 73
Manuel de Pedrolo 83
Llorenç Villalonga & Baltasar Porcel 89
Sergi Belbel 91
Chapter 4 Performance Groups in Catalonia
Mercè Saumell 103
The Independent Theatre (1960-1980) 103
Links with International Theatre 105
Mime 106
Ritsaert ten Gate 107
The Nancy Festival and North-American Companies 107
Other European Groups 108
The 1980s 108
Els Joglars 109
Comediants 113
Dagoll-Dagom 117
Sèmola Teatre 118
La Fura dels Baus 118
El Trickle & Vol.Ras 123
La Cubana 124
Zotal 126
Bibliography of Catalan Drama Translated into English 129

Index 133
Acknowledgements
During the growth of this short book, the editors have accumulated many
debts of gratitude. We are obviously grateful to the other contributors, but
would also like to thank the following colleagues and institutions: the
Comissió de Promoció de l'Ensenyament del Català a les Universitats de Fora
l'Àmbit Territorial de Catalunya of the Generalitat de Catalunya for subsidiz-
ing a conference in Exeter College, Oxford in September 1993 which enabled
the contributors to meet; Silvia Coll-Vinent, Ian Michael and Judith Willis for
assistance in connection with that conference; the educational institutions to
which the editors were attached during most of the editing process, Exeter
College, Oxford and the University of Wales, Swansea; Sergi Belbel, Josep
Maria Benet i Jornet, Joan Brossa and Rodolf Sirera for providing texts and
photographs; Derek Gagen, who read an earlier draft of this book and Duncan
Large, who advised us on certain sections; Maria Antònia Babí i Vila, Roser
Vich, Lídia Bayona and Tal Goldfajn for help with translating Catalan;
Raimond Mateu and the Associació d'Espectadors del Teatre Lliure for
their encouragement throughout this project; Maria Delgado and George
E. Wellwarth, for help with the location and supply of published translations;
Alan Yates and the Anglo-Catalan Society for their generous cooperation;
Pauline Climpson and Mark Glover of Interleaf Productions for their
professional skill in preparing copy for the printers; to the Fundació Congrés
de Cultura Catalana for continuing support to the Anglo-Catalan Society
Occasional Publications series.
DG&JL
December 1995
Preface
The essays which make up this book are intended to give English readers
some idea of the wealth of talent in contemporary Catalan theatre. Catalan
drama is still virtually unknown to English-speaking audiences and, despite
the presence of some Catalan performance groups at international festivals,
little has been done to highlight the vibrant creative context from which they
have emerged. Millions saw the opening and closing ceremonies to the
1992 Olympic Games, but few could have realized that they were observing
spectacles produced by Catalan theatre companies. When language is no barrier,
communication can be truly international without sacrifice of distinctive local and
community features. Other examples of Catalan theatre may not appear so
accessible, although, once understood, they are no less interesting. Hence the
Bibliography at the end of this volume which is designed to introduce the
reader more directly to several plays. The editors' desire to convey their
enthusiasm elsewhere has led them down familiar paths: the writing of
academic and journalistic articles, the publication of translations and the
organization of a conference at Exeter College, Oxford in 1993.
An attempt to approach the subject from different angles prompted the
choice of contributors to this book. Enric Gallén is a well known historian of
Catalan theatre who lectures at the Pompeu Fabra University in Barcelona.
Mercè Saumell also teaches, but is just as active as a theatre critic for several
newspapers and magazines. Rodolf Sirera gives a playwright's perspective on
the development of a phenomenon of which he was an important part.
Within the editors' general guidelines, the authors of each section have fol-
lowed their own particular preferences with regard to the choice of works dis-
cussed. The treatment of several plays by Pedrolo, for example, was prompt-
ed by the availability of English translations of his work. This book does not
require any knowledge of Catalan; all quotations have been translated.
Difficulties of translation are pointed out in the notes. The notes (and the
Further Reading section for Chapter 4) also contain bibliographical references
for individual authors and companies, whereas the Bibliography contains only
plays in English translation. In the main text, the titles of Catalan plays are
cited first in Catalan (with an English translation, where possible, in paren-
theses) and subsequently referred to by their English titles. It should be clear
from the context whether the dates in parentheses after play/show titles refer
to the date of the completion of composition (as is mostly the case in Chapters
2 and 3) or the date of the first production (as is generally the case in Chapters
1 and 4). Castilian Spanish is referred to as such or simply as Spanish. The
editors are responsible for the translations of the chapters by Enric Gallén,
Rodolf Sirera and Mercè Saumell.
List of Illustrations
1. (p. 35) Josep Maria Flotats in Ara que els ametllers ja estan batuts (Now that the
Almonds Have Been Shaken from Their Trees), based on texts by Josep Pla, at the
Poliorama Theatre, Barcelona, 1990. Directed by Josep Maria Flotats. Set
designed by Josep Maria Flotats & Serge Marzolff.
(Photograph: Faustí Llúcia)
2. (p. 56) Àngels Poch and Imma Colomer in Josep Maria Benet i Jornet's Desig
(Desire), at the Romea Theatre, Barcelona, 1991. Directed by Sergi Belbel. Set
designed by Joaquim Roy.
(Photograph: Ros Ribas)
3. (p. 65) Abel Folk and Sergi Mateu in Rodolf Sirera's El verí del teatre (The
Audition), at the Poliorama Theatre, Barcelona, 1993. Directed by Orestes Lara.
Set designed by Chas Llach.
(Photograph: Faustí Llúcia)
4. (p. 76) A page from the theatre programme for a production of two plays by Joan
Brossa at the Olimpo Theatre, Barcelona, 1951. The drawing is by Joan Ponç.
5. (p. 95) Miquel Bonet, Pere Arquillué, Anna Güell and Emma Vilarassau in Sergi
Belbel's Tàlem (The Marriage Bed), at the Romea Theatre, Barcelona, 1990.
Directed by Sergi Belbel. Set designed by Joaquim Roy.
(Photograph: Teresa Miró)
6. (p. 110) Els Joglars, Mary d'ous (Egg Mary), 1972. Set designed by lago Pericot.
(Photograph: Barceló)
7. (p. 112) Els Joglars, Virtuosos de Fontainebleau (Virtuosi ofFontainebleau), 1985.
(Photograph: Jordi Puig)
8. (p. 114) Comediants, Dimonis (Devils), 1982.
9. (p. 116) Comediants, La nit (Night), 1987.
(Photograph: Gol)
10. (p. 119) La Fura dels Baus, Accions (Actions), 1983.
(Photograph: Gol)
11. (p. 121) La Fura dels Baus, Suz/o/Suz, 1985.
(Photograph: Gol)
12. (p. 124) El Tricicle, Èxit, 1984.
Introduction
The basis of contemporary Catalan theatre was laid in the mid-nineteenth cen-
tury. A renewed sense of Catalan national identity, coinciding with the growth
of an independent-minded liberal bourgeoisie, was reflected in the building of
new theatres and other cultural and entertainment centres in Barcelona. The
Liceu Theatre was transferred to its new premises in the Rambla in 1847, and
the Odeon and the Olimpo were inaugurated in the 1850s. The Romea
Theatre, which was to become the home of Catalan drama, was opened in
1863.
This process was part of a wider cultural renaissance known as the Renaixença,
during which Catalan re-emerged as a literary language after three centuries
of confinement to virtual patois status. Writers of the Renaixença tended to
look back nostalgically to an idealized Middle Ages (the period in which
Catalonia was a major European power), and their work is often characterized
by an emphasis on localism and picturesque rural environments. Nevertheless,
the part that they played in recreating a sense of Catalan nationhood was highly
significant and, as in other European countries, this was bound up with the
development of Romanticism. In the theatre it was manifested in the growth
of historical drama (ironically, often written in Castilian Spanish rather than
in Catalan) and melodrama.1
The dominant dramatist of the mid-to-late nineteenth century was Frederic
Soler (1839-1895), who wrote under the pseudonym of Serafí Pitarra. He
parodied Romanticism in his early plays, and, in keeping with an age which
recovered aspects of an almost forgotten Catalan culture, Pitarra used popular
dramatic forms such as the sainet, a one-act, humorous, often satirical piece
traditionally performed after the main play. Although Pitarra's early work is
comic, even scurrilous, his later plays are far more conservative, and lack his
former sharpness and vitality.2 The group of dramatists to which Pitarra
belonged 'did an about-turn, and became integrated into the conservative
Romanticism of the Renaixença' .3
12 Contemporary Catalan Theatre
Àngel Guimerà (1845-1924), arguably the most popular Catalan dramatist

of all time, has a more serious tone. In powerful dramas of Catalan rural and
provincial life, such as Terra baixa (Marta of the Lowlands) (1897) and La
filla del mar (The Daughter of the Sea) (1900), he explores human passions
within the context of small-town prejudices and social conflict. Guimerà's
plays contain an element of realism, but Romanticism is still the prevailing
mode.4
With the growth of modernisme in the late nineteenth century, writers and
artists rejected what they saw as the narrow provincialism of the Renaixença.
Modernisme was a diverse phenomenon, encompassing cultural personalities
of widely differing interests, beliefs and styles. In general it had as its driving
force a desire to be new, to absorb foreign influences while not rejecting
Catalan popular culture, and to reflect (and sometimes reject) a dynamic and
ever-changing society. This society was centred on Barcelona and character-
ized by rapid industrialization, the growth of an industrial working class, radi-
calism, and an increasing identification with a Catalanism which was born of
a sense of frustration with Madrid and the centralized Spanish state.5
In the 1890s there was a great increase in the number of foreign plays per-
formed, and in many ways Catalonia acted as a gateway to Spain for contem-
porary European dramatists like Maeterlinck, Hauptmann and Ibsen.6 Santiago
Rusinol (1861-1931) made a significant contribution to the diffusion of for-
eign drama, particularly through productions of Maeterlinck's L'Intruse and
other plays in the modernista festivals at Sitges.7
The principal role in the dissemination of foreign drama in Catalonia was
played by Adrià Gual (1872-1943), through his productions at the Teatre
íntim.8 Authors performed include Hauptmann, Ibsen, Chekhov, Shakespeare,
Beaumarchais, Molière and Goldoni. Gual's own plays, like those of his modern-
ista contemporaries Rusinol and Apel·les Mestres (1854-1936), reflect the
'art for art's sake' strand of modernisme. Plays such as Rusinol's El jardí
abandonat (The Abandoned Garden) (1900) and Gual's Nocturn: Andante
morat (Nocturne: Andante in Purple) (1896) reveal the influence of Symbolist
drama. Their work is essentially anti-Naturalist, reflecting their view of
Naturalism as too historically-based and lacking in artistic flair. On the other
hand, playwrights associated with the 'social criticism' side of modernisme
were more influenced by Zola and Ibsen than by Maeterlinck and the Symbolists.
A case in point is Ignasi Iglesias (1871-1928) who, in plays such as Els veils
(The Old People) (1903), reminds us of the rapidly-growing size and militancy
of the Barcelona working-class at the turn of the century.
Introduction 13
As the movement known as noucentisme supplanted modernisme in the

first decade of the twentieth century, the interest in North European culture,
Bohemianism and art for art's sake was replaced by an emphasis on Classicism
and Mediterranean culture. Noucentisme'?, chief theorist was Eugeni d'Ors
(1882-1954), and its influence extended beyond literature into painting and
sculpture. Noucentisme is closely associated with the development of Catalan
political and cultural institutions, which have left such a deep mark on contem-
porary Catalonia. The best-known noucentista writers are poets such as Josep
Carner (1884-1970) and Carles Riba (1893-1959). Noucentistes were much
more interested in poetry and prose than in drama, so the period of noucentista
ascendancy was generally one of decline in Catalan theatre. However, the
Castilianized music-hall and revue theatres of the Barcelona Paral·lel district
blossomed in the period following the First World War, as did the cinema.
Modernistes like Rusinol and Gual continued to write well into the twentieth
century, but generally rejected noucentisme. In 1913 Gual founded the Escola
Catalana d'Art Dramàtic (Catalan School of Dramatic Art). During the dictator-
ship of Primo de Rivera from 1923 to 1930, he allowed its name to be
changed into Castilian as Institute del Teatro Nacional (National Theatre
Institute).9 As a result, he was accused of collaboration with the dictatorship,
reviled with the advent of the Second Republic in the 1930s, and removed as
director of the Escola in 1934.
The Primo de Rivera dictatorship placed limitations on theatrical activity in
Catalonia, although the restrictions were not in any sense so severe as those
that were later to be imposed during the Franco regime. It is Josep Maria de
Sagarra (1894-1961) who stands out from his contemporaries of the 1920s.
As well as being an original playwright, he was a prolific translator. Sagarra's
plays, several of which still retain their popularity today, are dramatic poems
and often contain the folksy local colour typical of preceding generations.
Like other areas of Spanish and Catalan life, the theatre was influenced by
political events of the 1930s, above all the Civil War (1936-39). Theatrical
activity during the Civil War was characterized by bitter infighting between
the Socialist and the Anarchist trade unions (UGT and CNT), for motives that
often had little to do with the theatre.10 The German director Erwin Piscator
visited Barcelona in 1936. He was disappointed with what he considered to be
the absence of social bite and dynamism in contemporary Catalan and
Spanish drama, but chose Guimerà's Marta of the Lowlands as the play he
would direct in Barcelona in 1937. Because of the Civil War, this project was
never brought to fruition.''
After Franco's troops entered Barcelona in January 1939, imprisonments

and executions were accompanied by actions specifically designed to destroy
the cultural identity of Catalonia. Catalan books were burnt, the Catalan press
disappeared and street names were changed. This was not just a question of
translation from Catalan into Spanish. It is indicative of the radical national-
ization enforced on Barcelona that the 'Plaça de Catalunya' (Catalonia
Square) should be changed to the 'Plaza del Ejército Espanol' (Square of the
Spanish Army). In the early years of Francoism many Catalans were fined for
using their language in public.12
Given this initial scenario of repression after the Civil War, it is relevant
that Enric Gallén and Rodolf Sirera have slightly differing concerns in their
descriptions of the steps towards the establishment of contemporary Catalan
theatre. Whereas the theatre historian Gallén documents individual attempts
at renewal (Chapter 1), Sirera the playwright underlines the overwhelming
mediocrity of Catalan plays performed until the mid-1960s (Chapter 2). The
pessimistic view of theatrical life held sway in critical accounts until the
1970s. One book dedicated to post-Civil War Catalan theatre included in its
opening pages the statement that there was 'no really professional Catalan
language theatre', since no company regularly received official subsidy.
Seven years earlier, in 1966, Joaquim Molas had written: 'There is no real
Catalan theatrical life.' This claim reappeared when a general informative
article was published in French.13
Such assessments have not helped to transform the centralized vision pro-
pounded by traditional histories of 'Spanish theatre', where 'Spanish' means
'written in Castilian' and thus eliminates anything more than a passing men-
tion of Catalan drama. This is a pity, particularly for those who are keen to
promote the innovative qualities of theatre produced in what some Catalans
now like to call 'the Spanish state'. For much of the most interesting work has
come from Catalan-speaking regions. In the 1920s, Barcelona was noted as
being more open to theatrical experimentation than Madrid, and there is evi-
dence—from theatrical activity and public reactions to it—that this attitude
continued after the Civil War.14
Two predominant approaches are identifiable in the written drama which
emerged from the dark early years of Francoism and can still be considered
worthy of attention: that of the politicized dramatists (discussed in Chapter 2)
and that of the avant-garde dramatists (discussed in Chapter 3). It would be
incorrect to argue that the latter did not tackle political issues or that the for-
mer did not write experimental drama. All Manuel de Pedrolo's avant-garde
Introduction 15
plays are about the nature of freedom, and Rodolf Sirera's political Plany en
la mort d'Enric Ribera (Lament for the Death of Enric Ribera) is one of the
most technically original texts to have been written in Europe during the
1970s. Nonetheless, there is a discernible difference of styles between the two
tendencies. Writers such as Joan Brossa form part of a tradition of avant-garde
drama which originated with Futurist and Dadaist sketches, and their Catalan
equivalents of the 1920s.15 Later, especially in the work of Pedrolo and Sergi
Belbel, there are distinct links with several motifs from the Theatre of the
Absurd. In contrast, the inspirations for Josep M. Benet i Jornet and Jordi
Teixidor are proletarian drama and Brecht. Their allegories, together with
those of Joan Oliver, Salvador Espriu and the Sirera brothers, involve a more
direct confrontation with precise events, even if these sometimes include class-
ical myths or Biblical stories, as well as historical episodes. Moreover, if
Brossa, Pedrolo and Llorenç Villalonga were equally active in other literary
genres, playwrights such as Benet i Jornet, Teixidor and the Sirera brothers at
first developed their writing for the stage alongside active participation in
politically committed theatrical groups.
Once sufficient time had elapsed from the death of Franco in 1975, stances
did not need to be so radicalized. Thus, Benet i Jornet's Desig (Desire) (1989)
is experimental and highly personal, while Belbel's Carícies (Caresses)
(1991) maintains the author's stylistic idiosyncrasies, but is firmly located in
a social sphere of the 1990s. Of course, a politicized form of avant-garde had
existed since the 1960s, in performance groups such as Els Joglars, whose
style originated from acting techniques rather than written texts (Chapter 4).
Indeed, it is groups such as Els Joglars, Comediants and La Fura dels Baus
which have come to represent Catalan theatre beyond Catalonia. It was
acceptable for a Catalan—Marià Andreu—to design the sets for Alec
Guinness's controversial Hamlet in 1951.16 The Catalan director Lluís Pasqual
is currently the head of the Odéon Theatre in Paris. But most Catalan texts still
remain unstaged outside their immediate geographical context. If enough fest-
ival programmers decided to add a company performing Timon of Athens in
Catalan to a Romanian Midsummer Night's Dream or a German Julius
Caesar, attention might be drawn away from mime and fireworks to the exis-
tence of a tradition of Catalan writing for the stage. Yet internal conditions
which would enable such writing to receive respectable productions have not
been ideal. Enric Gallén is therefore understandably concerned to demonstrate
the constant need for a National Catalan Theatre. A potential resolution of this
problem came recently with the announcement that Josep Maria Flotats is to
be director of precisely such a National Theatre, the construction of which is

expected to be complete by 1997.
Whatever ultimately surfaces from present projects, Catalan theatre cannot
be considered in the same terms as would apply to the cultural products of lin-
guistically defined national groupings which enjoy total political independ-
ence. The latest figures indicate that there are six and a half million Catalan-
speakers and just over nine million who understand the language.17 Although
the total for those who have passive knowledge is more than twice the popu-
lation of Norway, the areas covered in this survey include the Valencia region,
the Balearic Islands, Roussillon (in France), Alguer (in Sardinia) and Andorra,
as well as Catalonia itself. Apart from the pages devoted to the Sirera brothers
in this volume, space does not permit consideration of Valencian theatre, in
which playwrights like Manuel Molins (1946-) have further helped to forge a
theatrical identity south of Barcelona.18 Nor is it possible to touch in any
detail on the theatre produced in other Catalan-speaking areas.19
In 1992, the approximate cut-off point for this study, television viewers
around the world witnessed the spectacular opening and closing ceremonies
to the Barcelona Olympic Games, staged by La Fura dels Baus and Comediants.
During the course of the same year in Barcelona, a public recognition of three
generations of Catalan playwrights occurred with full-scale productions of
plays by Joan Brossa, Rodolf Sirera and Sergi Belbel. Other recent dramatists
such as Joan Barbero, Joan Casas and Lluïsa Cunillé are now being performed.
There is at the moment a degree of confidence and professionalism which
opposes the negative descriptions of the 1960s. Catalan theatre has become a
rich creative field, waiting to be explored by all those who are interested in
contemporary drama and performance.
Notes
1. Xavier Fàbregas sees the existence of Romantic drama in Catalonia as an 'exotic
flower' in the context of industrialization and the expansion of an impoverished urban
working-class (Història del teatre català, Catalunya Teatral: Estudis, 1 [Barcelona: Millà,
1978], p. 114). Fàbregas also provides useful information on the growth of theatres in
Barcelona in the mid-nineteenth century (pp. 103-08).
2. On Pitarra, see Xavier Fàbregas, 'Frederic Soler entre la menestralia i la burgesia', in
Introduction 17
Aproximació a la història del teatre català modern (Barcelona: Curial, 1972),

pp. 69-94. New edtitions of some of Pitarra's plays have appeared recently, for
example, Serafí Pitarra, El castell dels tres dragons, ed. by Pere Martí, Biblioteca
Didàctica de la Literatura Catalana, 32 (Barcelona: Barcanova, 1993).
3. Josep M. Benet i Jornet, 'Teatre', in Diccionari de la literatura catalana, ed. by
Joaquim Molas and Josep Massot i Muntaner, Cultura Catalana Contemporània, 9
(Barcelona: Edicions 62, 1979), pp. 693-96 (p. 695).
4. See Xavier Fàbregas, Àngel Guimerà: Les dimensions d'un mite (Barcelona:
Edicions 62, 1971); David George, 'A Young Lad in the Arms of an Old Man: Sergi
Belbel Directs Àngel Guimerà's La filla del mar (The Daughter of the Sea)', Con-
temporary Theatre Review (forthcoming).
5. A valuable English-language study of the movement is M. J. McCarthy, 'Catalan
Modernism, Messianism and Nationalist Myths', Bulletin of Hispanic Studies, 52
(1975), 379-95.
6. See Marisa Siguàn, La reception de Ibsen y Hauptmann en el modernismo
Catalan, Estudiós de Literatura Espanola y Comparada, 5 (Barcelona: Promociones y
Publicaciones Universitarias, 1990); Halfdan Gregersen, Ibsen and Spain: A Study in
Comparative Drama, Harvard Studies in Romance Languages, 10 (Cambridge, MA:
Harvard University Press, 1936; rpr. 1966 by Kraus Reprint Corporation).
7. See Xavier Fàbregas, 'Santiago Rusinol i la iconografia teatral del modernisme',
in Aproximació a la història del teatre català modern, pp. 149—60.
8. See Carles Batlle, Isidre Bravo and Jordi Coca, Adrià Gual: Mitja vida de modern-
isme (Barcelona: Diputació de Barcelona, 1992); Enric Gallén, 'Adrià Gual', in
Història de la literatura catalana, ed. by M. de Riquer, A. Comas and J. Molas, 11 vols
(Barcelona: Ariel, 1980-88), VII (1986), 433^0.
9. See Hermann Bonnín, Adrià Gual i l'Escola d'Art Dramàtic (1913-1923),
Episodis de la Història, 186-187 (Barcelona: Rafael Dalmau, 1974); Hermann Bonnín,
Adrià Gual i l'Escola d'Art Dramàtic (1923-1934), Episodis de la Història, 206-207
(Barcelona: Rafael Dalmau, 1976).
10. On Catalan theatre during the Civil War and committed theatre during the Second
Republic, see Francesc Burguet i Ardiaca, La CNT i la política teatral a Catalunya
(1936-1938), Monografies de Teatre, 16 (Barcelona: Institut del Teatre/Edicions 62,
1984); Jordi Coca, Enric Gallén and Anna Vazquez, La Generalitat republicana i el
teatre (1931-1939): Legislació, Monografies de Teatre, 11 (Barcelona: Institut del
Teatre/Edicions 62, 1982); Christopher H. Cobb, Teatre del proletariat—teatre de
masses: Barcelona 1931-1934', Els Marges, no. 21 (January 1981), 121-28; Robert
Marrast, El teatre durant la guerra civil espanyola: Assaig d'història i documents,
Monografies de Teatre, 8 (Barcelona: Institut del Teatre/Edicions 62, 1978).
11. See Jordi Coca, Enric Gallén and Anna Vazquez, La Generalitat republicana i el
teatre, pp. 27-31. For a comparison between Piscatorian and Catalan conceptions of
the theatre, see Francisco Mundi Peret, El teatro de la guerra civil, Coleccion
Ediciones y Estudiós, 1 (Barcelona: Promociones y Publicaciones Universitarias,

1987), p. 237.
12. See Josep Benet, Catalunya sota el règim franquista: Informe sobre la persecució
de la llengua i la cultura de Catalunya pel règim del General Franco (la part)
(Barcelona: Blume, 1978), pp. 247, 296-305.
13. Jordi Arbonès, Teatre català de posguerra, Llibre de Butxaca, 75 (Barcelona:
Pòrtic, 1973), p. 18; Joaquim Molas, La literatura catalana de postguerra (Barcelona:
Rafael Dalmau, 1966), p. 55; Agustí Blanes, 'Le Theatre Catalan de ces vingt-cinq
dernières années', trans, into French by Pierre Verdaguer, Europe, no. 464 (December
1967), 173-82 (p. 182). The exception to the rule is the theatre critic Xavier Fàbregas
(1931-1985), who single-handedly managed to produce a large body of serious writ-
ing about Catalan theatre.
14. See Vance R. Holloway, La crítica teatral en 'ABC': 1918-1936, American
University Studies: Series II: Romance Languages and Literature, 181 (New York:
Peter Lang, 1991), pp. 111-12; John London, 'Reception and Renewal in Modern
Spanish Theatre: 1939-1963', 2 vols (unpublished doctoral thesis, Oxford University,
1992), especially, I, 318, 325-26.
15. For information on Catalan Futurist-inspired theatre in 1929, see Enric Gallén,
'Estudi introductori', in Llorenç Villalonga and others, Sis peces de teatre breu, ed. by
Enric Gallén, El Garbell, 43 (Barcelona: Edicions 62, 1993), pp. 5^17 (p. 7).
16. See Isidre Bravo, L'escenografia catalana (Barcelona: Diputació de Barcelona,
1986), p. 189. Antoni Clavé was another well-known Catalan set designer who worked
almost exclusively outside Spain in the post-Civil War period. Bravo's book is an illus-
trated guide to Catalan stage design, a rich subject which is not treated in detail in the
present collection of essays.
17. The Catalan Language Today, ed. by M. Leprétre, 2nd edn (Barcelona: Institut de
Sociolingüística Catalana, 1992), pp. 17-19.
18. See Xavier Fàbregas, Història del teatre català, pp. 295-99; Biel Sansano,
'Introducció: Manuel Molins: El teatre com a totalitat', in Manuel Molins, Ni tan alts,
ni tan rics . . . , Bromera/Teatre, 1 (Alzira: Edicions Bromera, 1989), pp. 7-20; Josep
Lluís Sirera, Passat, present i futur del teatre valencià, Descobrim el País Valencià, 5
(Valencià: Institució Alfons El Magnànim, 1981).
19. On the Catalan theatre of the Balearic Islands, Roussillon and Alguer, see Xavier
Fàbregas, Història del teatre català, pp. 246, 280-82, 294—95; Joan Fuster, Literatura
catalana contemporanea (Madrid: Editora Nacional, 1975), pp. 356-57.
Chapter 1
Catalan Theatrical Life: 1939-1993

Enric Callen
While the rest of Europe was about to enter the Second World War, the official
beginning of the Franco dictatorship in April 1939 destroyed the vain hopes
for Catalan theatre which had been created during the Civil War.' A number
of features highlight the new situation: the total ban on professional perfor-
mances of plays in the Catalan language until the end of the Second World
War; as a result of this ban, the destruction of all manifestations of a genuinely
popular Catalan theatre located in the Paral·lel (the Montmartre of Barcelona);
the exodus and marginalization of important theatrical figures (some of whom
went into permanent exile, while others engaged in non-theatrical activities in
remote areas of Spain or—like Josep M. de Sagarra, Carles Soldevila and
Joan Oliver—returned in the 1940s and took up the theatre again with vary-
ing degrees of success); the almost total isolation from major currents of for-
eign theatre; the specific prohibition of translations of foreign plays (which
lasted until the late 1950s).
No public performance of a play in the Catalan language was allowed on
the professional stage in Barcelona until 1946. As early as December 1939
(the first Christmas of the Francoist occupation), when faced with a request
that the traditional Catalan Christmas Nativity play Els pastorets2 be
performed, the Civil Governor of Barcelona cynically decreed that 'the
performance should not constitute a public spectacle and should not therefore
be held in premises normally used for cinema, dance or recreational activities
in general, and a direct or indirect charge should not be made'. He commented
that 'the said performance should possess an exclusively family-based
religious character'.3 The political message was clear: the Catalan language
was to be confined to private and family use. Immediate access to genuine
cultural and hence theatrical manifestations in Catalan would have to be
clandestine. For those committed to the theatre, there was no alternative, other
than to go into exile or patiently await a more favourable turn of events.
Indeed, readings and individual performances of Catalan texts took place in a

restricted and almost family environment on a very precarious, non-professional
basis. These texts included the translations of Shakespeare prepared by Josep
M. de Sagarra (1894-1961) between 1941 and 1945 thanks to private patron-
age.4 With the Allied victory in 1945, the Franco regime was finally forced to
adopt a more liberal policy towards certain Catalan cultural activities.5 Thus,
the renewal of theatrical activity in Catalonia in 1946 was at first necessarily
limited to the reconstruction of the pre-Civil War repertoire. On the whole, the
writing of Catalan authors did not show sufficient signs of artistic renewal,
with the exception of various isolated attempts by Josep M. de Sagarra—in
plays such as Lafortuna de Sílvia (Silvia's Fate) (1947) and Galatea (1948)—
to mirror the sort of moral drama that was prevalent in Europe in the late
1940s.6 The publication of Salvador Espriu's important Primera història
d'Esther (The Story of Esther) in 1948 was, on the other hand, an exception-
al event.
At the very moment when theatre in France was beginning to be decentral-
ized and Paolo Grassi and Giorgio Strehler were founding the Piccolo Teatro
in Milan, the Catalan professional stage, following a precarious restoration, in
1949 formed a Board of Management at the Romea Theatre of Barcelona, the
emblematic headquarters of Catalan theatre. Despite all this, the general artis-
tic panorama tended to be inward-looking and provincial until 1954. Jordi
Sarsanedas wrote resignedly in the journal Ariel: 'in the absence of an alter-
native, we are still prepared to see the play about the henpecked husband and
the tyrannical wife, or the drama of poor but honest folk.' 7 Even Joan Triadú,
one of the founders of Ariel, who had lamented Sagarra's ritorno all'antico
following the failure of Galatea, recognized in a review of the first perfor-
mance of Les vinyes del Priorat (The Vineyards of the Priorat*) (1950) that
'we will be satisfied if at least it does not disappoint the audience; for the old
Romea Theatre is one of the few fora left to us to make a collective statement
in Catalan'.9 For Triadú, the theatre was a 'mass phenomenon which cannot
be ignored'. It is only in this sense that one can evaluate positively the third-
rate revivals of established authors like Frederic Soler, Àngel Guimerà or
Santiago Rusinol, accompanied by the return to the Catalan stage of charis-
matic pre-Civil War actors such as the couple Pius Davi and Maria Vila. The
overall impression was one of a regional culture, rural in an old-fashioned
sense, supplied by commercially-oriented authors who, in the words of Joan
de Malniu (the pseudonym of Antoni Ribera), 'give us the exact measure of
what separates us from European culture, and therefore from Europe'.10
Catalan Theatrical Life: 1939-1993 21
Critics were unanimous in recognizing the significance of this lamentable

situation: Catalan theatre was living off the past. It was clearly necessary to
be aware of the existence of factors which made a full return to normality very
difficult: the ban on the translation of any foreign work and the limitation
placed on the number of premises dedicated to Catalan theatre—at least in the
sense of plays that could be performed throughout a season. This formed a
contrast with the quantity of Catalan theatres where works in Castilian
Spanish were regularly performed. These Spanish plays were offered by
Madrid-based companies, from both the public (the so-called 'National
Theatres') and the private sectors.
In the first half of the 1950s, in the face of the inability of the Board of
Management of the Romea Theatre to organize a regular programme of
Catalan theatre and the rejection by audiences and critics of the apparent mod-
ernization Josep M. de Sagarra had attempted, some critics went so far as to
describe the position as one of 'decline'.11 Despite the spectacular success in
the 1954-55 season of Sagarra's La ferida lluminosa (The Luminous Wound),
which is thematically similar to Graham Greene's The Living Room and
Joaquín Calvo Sotelo's La muralla (The Wall), a start could not be made in
resolving the crisis in Catalan theatre until the creation of the Agrupació
Dramàtica de Barcelona (the Barcelona Dramatic Group, or ADB) in 1955,
and the Escola d'Art Dramàtic Adrià Gual (Adrià Gual School of Dramatic
Art, or EADAG) in 1960. Indeed, shortly after the great success of The
Luminous Wound, there began a process of artistic sclerosis at the Romea,
interrupted only by isolated attempts to organize teatre de cambra (chamber
theatre) in imitation of what had been offered in Barcelona since the end of the
Second World War by certain theatre groups working in the Spanish language.12
The terminal decline of the commercial stage at the Romea prior to the crisis
of the 1960s was accentuated by the appearance of a particular actor, Joan
Capri.13 Discovered by the promoter and playwright Xavier Regàs, Capri
joined the company in the 1957-58 season, and soon achieved great popular-
ity through his monologues and strange versions of written works adapted to
suit his histrionic personality. The journalist Néstor Lujàn used the pretext of
an article on Capri to deal with the extreme artistic decadence of the Romea
in his column in the weekly magazine Destino, claiming that 'as the symbol
of Catalan theatre, the Romea should not be in the hands of vulgar actors and
ordinary playwrights'. He demanded
that the Romea Theatre should possess a good traditional reper-
toire and should perform, as well as new works [...], translations
of foreign plays, both classical and modern, of which there are

fortunately an abundance. Other theatres could encourage the
performance of experimental works and restore to the active
Catalan theatre its former [.. .] dignity.14
The polemic was thus launched, and it occasioned the intervention of the ADB,
which, through letters to the editor of Destino from Frederic Roda and Joan
Oliver, two of ADB's leaders, placed the group firmly on Néstor Lujàn's side.15
There was obviously a series of problems surrounding the Catalan profes-
sional stage: the exhaustion of pre-Civil War dramatic trends; the absence of
texts which could renew the theatre; and the ever-growing public preference
for products which Jordi Carbonell termed 'banal comedy, [...] which even
descends at times into parody [...] a sentimental drama which depends on
superficial emotions and lacks real human depth'.16 Indeed, the general situ-
ation had worsened by the end of the 1950s:
Today, Catalan public theatre is a capitalist enterprise without
capital, and therefore it finds itself in the same situation as the
small factory-owner who sells only to pay his bills; any wide-
ranging or long-term programme is out of the question. And so
a vicious circle is created: since the theatre is not developed, it
is not profitable. The result is that our impresarios are often
dramatists, authors or their friends, and the smallest upset ruins
a whole season.17
The Agrupació Dramàtica de Barcelona

Since the strictly private Catalan professional stage had hit rock bottom, the
instability and the consequent artistic degradation that it suffered throughout
the 1960s were inevitable. The real revival of Catalan theatre came from
sources which were far removed from the commercial stage. On the one hand,
there were dramatists who privately created models of dramatic literature that
in some cases were neither published nor performed for many years. This was
a type of theatre which was completely marginal to the projects of the com-
mercial or amateur stage: Joan Brossa and Llorenç Villalonga are paradigmatic
examples, as is the poet Josep Palau i Fabra. On the other hand, there was the
type of theatre which arose directly from the non-professional stage, be it the
ADB's incorporation of new authors such as Manuel de Pedrolo, Baltasar
Porcel and Brossa himself, or the ADB's promotion of Joan Oliver and
Salvador Espriu.
The ADB was formed around the respected historian and man of the theatre
Ferran Soldevila. A number of middle-class intellectuals and private individu-
als, who were linked to the group and who, since the 1940s, had been acting as
patrons of the arts, promoted it under the auspices of the Artistic Circle of Sant
Lluc. The main aim of the ADB was to revive artistic and social interest so as
to enable Catalan theatre to relate once more to the dominant currents of con-
temporary foreign theatre, as in the modernista period18 or at certain moments
during the pre-Civil War era. They wished to achieve this without having to
forego a critical revision of their own tradition, which was being misrepre-
sented by the professional stage and risked being completely forgotten. It was
in this spirit that the ADB, following an unsuccessful contact with Maurice
Sarrazin of the French theatre group Le Grenier de Toulouse, organized
theatrical seasons until 1963, despite administrative obstacles and the limited
number of times each play could be performed. In this way, the leaders of the
company constructed quite a resourceful programme in terms of the selection
of texts, authors and the collaboration of well-known artists (painters, stage
designers, directors and performers).19
The ADB offered a variety of plays by non-Spanish authors from the sixteenth
century to the contemporary period: Molière, Shakespeare, Ben Jonson, Goldoni,
Mussel, Chekhov, Strindberg, Shaw, Claudel and Giraudoux. Contemporary
playwrights produced included Anouilh, Rattigan, lonesco, Durrenmatt and
Brecht. What is more, in the face of the lamentable state of Catalan com-
mercial theatre, the ADB established, with all its deficiencies and any number
of changes that had to be made, a selection of Catalan plays that could be used
for the preparation of the future repertoire of an as yet non-existent National
Theatre: Joan Maragall's Nausica, Santiago Rusinol's L'auca del senyor
Esteve (Mr Stephen's Auca20), Josep Carner's El ben cofat i l'altre (The Man
with the Hat and the Other One), El cocktail dels acusats (The Accused Men's
Cocktail) by Carles Soldevila, Xandí by J. Millàs-Raurell, Silvia's Fate, by
Sagarra, and Joan Oliver's Ball robat (Stolen Dance), among others. The
ADB helped to discover younger Catalan playwrights, by staging such works
as Salvador Espriu's Antigona (Antigone) and The Story of Esther, Joan
Brossa's Or i sal (Gold and Salt), Baltasar Porcel's La simbomba fosca (The
Dark Zambomba) and Els condemnats (The Damned), and three plays by
Manuel de Pedrolo, Cruma, Homes i no (Men and No), and Tècnica de cambra
(The Room).
The ADB also published plays in their series Quaderns de Teatre, edited by
Joan Oliver.21 Their objective was to present the most modern plays within the
arbitrary and irrational limits imposed by censorship. They chose representative

plays from post-1939 world drama, and some of the most innovative Catalan
drama of the post-Civil War period. The publications include Pedrolo's Men
and No (1960), Brossa's Gold and Salt (1963), Tennessee Williams's The
Glass Menagerie (as Figuretes de vidre) (1959), Graham Greene's The Living
Room (La sala d'estar) (1962), lonesco's La Cantatrice chauve (La cantant
calba) (1963), Wesker's Roots (Les arrels) (1963) and Brecht's The Three-
penny Opera (L'òpera de tres rals) (1963).22 Twenty years after the end of the
Civil War, Quaderns de Teatre represented the first opportunity of dissemi-
nating in Catalan the work of leading figures in contemporary theatre.
By the time its activities were curtailed in 1963 for political reasons, the
ADB had, as a non-professional body, unintentionally taken on the precarious
functions which in other circumstances would have been fulfilled by a
National Theatre, or a Dramatic Centre. In the majority of European industri-
alized countries, this kind of centre would be state-subsidized and part of the
official establishment. This was not the case in Catalonia, and the ADB could
count only on a specific sector of the Barcelona middle classes, who were to
a large extent the inheritors of the politically conservative nationalist group
from the pre-Civil War period.
The general picture of the theatre in Barcelona and in Catalonia at the start
of the 1960s was one which was still dominated by: the presence of amateurs
grouped since 1949 within FESTA (Foment de l'Espectacle Selecte i Teatre
Associació, a Catholic theatre organization);23 the inexorable artistic decline
of the Romea Theatre; the presence of private companies which were heavily
indebted to a mainly commercial Spanish theatre; a gradual but steady dis-
appearance of theatrical activity in the Paral·lel. The Paral·lel, like other areas
of the Catalan cultural scene, was infused with Spanish, non-Catalan elements
in the post-1939 period. Faced with this situation, the ADB had cautiously
tried to lay the basis of a theatrical renewal which, although non-professional,
was genuinely Catalan.
The Escola d'Art Dramàtic Adrià Gual and Committed Theatre

The renewal begun by the ADB was completed with the creation of the Escola
d'Art Dramàtic Adrià Gual (EADAG), under the direction of Maria Aurèlia
Capmany and Ricard Salvat.24 This company was formed with a dual pur-
pose: as a response to the outdated nature of the classes given by the official
Institut del Teatre (Theatre Institute), directed by Guillem Díaz-Plaja,25 and
because of the perceived need to plan a new professional and aesthetic-civic
concept of theatre. One of the main aims was the creation of a school for the
training of actors and directors, despite the private and officially unrecognized
character of the EADAG. Although the Stanislavsky—and later the
Grotowski—methods of training actors and actresses were not disdained, it
was the epic method, imported by Salvat after his period in Germany, which
became one of the defining features of the School and of its often non-
theatrical corpus of texts, interpreted from a new perspective.26 Brecht and the
epic theatre allowed Salvat to give shape to his own personal style of
dramatic composition to which both Catalan authors (especially Salvador
Espriu) and foreign playwrights were subjected.
The appearance and initial operation of the EADAG favoured the creation
and subsequent development of the so-called Independent Theatre movement,
which arose as a response to contemporary amateur and commercial theatre.
The Independent Theatre groups appeared throughout the 1960s and were
highly idealistic in their goals. They aimed at a global renewal of the theatre
by disassociating themselves from the traditional circuits, creating new audi-
ences, re-evaluating the roles of the director, the stage designer and the actor,
and, to a lesser degree, revising the Catalan repertoire.27 It is impossible to
separate the Independent sector's implacable opposition to established cultural
structures from their concept of the theatre as an instrument of socio-political
struggle. In this they were influenced by Brechtian aesthetics—and also by
Expressionism—which, through the cultivation of distancing techniques,
would increase audiences' awareness. Nevertheless, the Independent Theatre
had to face a number of serious problems, above all the difficulty of reaching
a broad sector of the public and of thereby moving away from marginalized
ghettos towards a genuinely professional status. This 'professionalization'
was achieved by only a few groups.
Another source of theatrical renewal, in addition to that provided by the
ADB, the EADAG and the Independent sector, was the creation of the Josep
M. de Sagarra Prize in 1963. Together with other similar, but on the whole
short-lived ventures, the Sagarra prize acted as a genuine platform for young
dramatists who had not had their work published, and were usually linked to
the Independent sector.28 The first Sagarra prize was awarded to Josep M.
Benet i Jornet for Una vella, coneguda olor (An Old, Familiar Smell), a play
which was the forerunner of the text-based theatre of later years. What is more,
Benet, as a pupil of the EADAG, felt himself to be close to the Independent
Theatre. In the 1964 production of An Old, Familiar Smell, professional
actors from the commercial sector played alongside actors from the EADAG.
If one were to offer an artistic evaluation of those plays that received the
Sagarra prize, one would have to point to their diversity, as well as to the lack
of an established aesthetic line. Benet's realism, influenced initially by
Spanish and North-American sources, coincided in its presentation of social
issues with the work which received the 1964 Sagarra prize, Joan Soler i
Antich's Aquí no ha passat res (Nothing's Happened Here). Soler i Antich's
play resolves the conflict of its protagonist in an existential mode, reminiscent
of Sartre. There is a contrast between the plays by Benet i Jornet and Soler i
Antich, the winners of the first two Sagarra prizes, and the text which won the
1965 prize, Josep Maria Mufioz Pujol's Antigona (Antigone), which follows
Anouilh and Espriu, but is also Sartrian.
After 1965, the ascendancy of Brecht and epic theatre was confirmed in
Catalonia. Clear evidence of this is provided by three events: the appearance
of a volume of Teatre (Plays) by Baltasar Porcel—above all Història d'una
guerra (Story of a War), which was performed by the Teatre Experimental
Català (Catalan Experimental Theatre) in 1966; the first performances of
Ronda de mort a Sinera (Death Around Sinera) by Salvador Espriu and Ricard
Salvat; and the performance by the EADAG of Maria Aurèlia Capmany's Vent
de garbí i una mica de por (South-West Wind and a Little Bit of Fear).29 The
Sagarra prize reflects the dominance of Brecht: it was awarded in 1967 to
Alexandre Ballester's Dins un gruix de vellut (In the Thickness of Velvet), and
in 1968 to Jordi Teixidor's El retaule del flautista (The Legend of the Piper).
The Expressionism of the 1966 prizewinner, Jaume Melendres's Defensa
índia de rei (Indian Defence of the King), is not too far removed from the
Brechtian line. Benet i Jornet's development as a dramatist was also marked
by the dominant Brechtianism. He departed decisively from the realism of
Fantasia per a un auxiliar administratiu (Fantasy for an Administrative
Assistant) (1964), with his trilogy based on the myth of Drudània, written
from 1965 to 1969.
It should be noted that the renewal of the theatre which was undertaken by
the aforementioned authors—and by other candidates for the prizes—was
aimed only at limited sectors of society, namely
intellectuals, members of liberal professions, and a high per-
centage of students. This audience expects and demands a
committed theatre that takes the denunciation of society to the
limits permitted by censorship. Thus, the audience's approval
or rejection always depends on this criterion.30
On the one hand, the new theatre lacked access to a wide audience, and on the
other, it had a non-professional basis, with no more than three performances
per production, and very little training for those involved. Hence it offered a
feeble image, very different to that of a whole range of European theatres of
the 1960s.
In fact, the first appearance of the Independent Theatre on the commercial
circuit came in the form of the EADAG, under the direction of Ricard Salvat.
Between 1966 and 1970 he organized three seasons at the Romea, and includ-
ed prestigious actors and actresses from the commercial sector, such as Núria
Espert. The presence of these professionals seems to have provoked a certain
amount of tension in the EADAG, since some of its members believed that it
was going beyond its assigned role. The success of the first two years
(1966-68), with such plays as Death Around Sinera by Espriu and Salvat,
Rusinol's Mr Stephen's Auca, Espriu's The Story of Esther and Brecht's The
Good Woman of Setzuan, led to uneasiness and a lack of enthusiasm when
Peter Handke's Offending the Audience and Brecht's A Man's a Man were
included in the programme alongside Llorenç Villalonga's Mort de dama
(Death of a Woman).31 In the same period elsewhere, new approaches to theatre
and theatrical research were being adopted. Examples are George Devine's
work at the Royal Court, the founding and subsequent development of the
Royal National Theatre in 1963, and the process of decentralization in French
theatre, which was reactivated during the 1960s.
The Final Years of the Franco Regime

Around 1968 the renewal of Catalan theatre was showing clear and unequivo-
cal signs of petering out. The symptoms included the absence of sustained
coverage in the mass media, the lack of a regular specialist theatrical publica-
tion,32 and of a properly organized collection of Catalan and foreign titles to
continue the direction established by the ADB's Quaderns de Teatre series.
What is more, the jury who presented the 1968 Sagarra prize bemoaned the
fact that none of the previous winners had seen their plays performed within
the regular repertory of an established company, and had received no support
from individuals or Catalan cultural organizations.33 The Independent Theatre
was entering a period of crisis, following the failed experiments of the Off-
Barcelona project (the Barcelona fringe) at the Casino de l'Aliança in the
city's Poble Nou district in 1968. In addition, the lack of cohesion and feasi-
bility in the Independent Theatre groups led to a couple of years of operational
crisis.34 The crisis in the Independent sector coincided with the inauguration
in 1969 of the Capsa Theatre, headed by the actor Pau Garsaball, which until
1976 became the real platform for the launching of groups such as Els Joglars
which had been linked to the Independent Theatre, but had turned profession-
al in the early 1970s.35 Disregarding the Romea and the ineffectual, official
Teatro Nacional de Barcelona (National Theatre of Barcelona),36 the Capsa
was the only, if still inadequate, forum for Catalan authors. However, they
were not all successful there: the triumph of Teixidor's The Legend of the
Piper contrasts with the critical rejection of Benet i Jornet's Berenàveu a les
fosques (You Were Having Tea in the Dark) in the spring of 1973.
From the ashes of 1968 there had begun a new period in which people were
prepared to question the most committed values of the 1960s. As far as the
theatre was concerned, new manifestations were appearing all over Europe in
response to Artaud's theories or to the phenomenon of collective creation.37
Nevertheless, some Catalan plays premiered in the early 1970s still possessed
the progressive spirit of the 1960s. Two instances are Teixidor's The Legend
of the Piper, and a work written by Maria Aurèlia Capmany in collaboration
with Xavier Romeu, Preguntes i respostes sobre la vida i la mort de Francesc
Lay ret, advocat dels obrers de Catalunya (Questions and Answers on the Life
and Death of Francesc Layret, Lawyer of the Workers of Catalonia).^
Questions and Answers is one of the best examples of documentary theatre, and
was inspired by Peter Brook's staging of Rolf Hochhuth's The Representative.
It was published in Paris and later performed clandestinely in various loca-
tions in Barcelona and the rest of Catalonia. Between 1971 and 1973 we still
find texts which are identified with the Brechtian formula or Expressionist
techniques: Jaume Melendres's Meridians i paral·lels (Meridians and
Parallels), or Ramon Gomis's La petita història d'un home qualsevol (The
Little History of Anyman). There are even examples of anti-theatre, in Jordi
Bergonó's Por (Fear), which won the last Sagarra prize in 1973, and Els mites
de Bagot (The Myths of Bagot) (1968), by Xavier Romeu, which cultivated
techniques from the so-called Theatre of the Absurd with the aim of describ-
ing a rebellion at the heart of an authoritarian society.
A new development was the appearance in 1970 of El Galliner (1970), a
collection dedicated to the publication of work by new Catalan dramatists.39
The creation and subsequent development of El Galliner coincided with a
gradual but irreversible decline of a certain vision of Independent Theatre. For
the critical situation of the Independent Theatre was inextricably bound up
with the historical realism movement of the early 1960s which had fostered
and used it. A veiled reaction against the values of the 1960s had just begun.
Catalan Theatrical Life: ]939-1993 29
Imagination was taking over from reason, and certain suppositions would
soon be attacked: above all, those linked with realism, Brecht and epic theatre.
In truth, if Benet, Teixidor and Melendres were still able to have their plays
performed in the early 1970s, it was as an isolated phenomenon. In contrast,
in 1972-73, certain critics enthusiastically hailed the appearance of a new
author, Rodolf Sirera, particularly in connection with the City of Granollers
Prize in 1971 for his Plany en la mort d'Enric Ribera (Lament for the Death
of Enric Ribera). This play shows an important formal break with the epic
theatre of the 1960s. Theatre critics were burying the 1960s inheritance and
looking to new directions, such as the first volume of Joan Brossa's Poesia
escènica (Scenic Poetry) published in 1973,40 or to certain collective produc-
tions—in the manner of Ariane Mnouchkine's Theatre du Soleil—like La setmana
tràgica (The Tragic Week) (1975), under the direction of Lluís Pasqual and
Guillem-Jordi Graells, performed by the Escola de Teatre de l'Orfeó de Sants,
a young non-professional group.41
During the final years of the Franco regime there occurred a further stage
in the colonization by Madrid of Catalan theatre, especially by groups from
the Independent sector, while their Catalan counterparts were gradually dis-
membered.42 There was a lack of effective support from the Romea Theatre
and the Castilian Teatro Nacional de Barcelona for those Catalan playwrights
who continued writing, but could not expect their plays to be produced properly.
The most important productions in Catalan were by a non text-based group,
Els Joglars, with the revival of several of their works at the Capsa in 1974: El joe
(The Game), Cruel ubris and Mary d'Ous (Egg Mary), and the first perfor-
mance in Granollers of Alias Serrallonga. Those playwrights who had
emerged from the 1960s found themselves in the same position as at the
beginning: without the explicit support of their predecessors—Joan Oliver,
Maria Aurèlia Capmany and Manuel de Pedrolo—and without the possibility
of turning professional. Some of them abandoned the theatre apparently for-
ever. Such examples include: Joan Soler i Antich, Alexandre Ballester,
Baltasar Porcel, Jaume Melendres and Xavier Romeu.
The Emergence of Resident Companies after the End of Francoism

The transition which followed the death of General Franco on 20 November
1975 finally opened up new horizons in both political and cultural spheres. In the
theatre, the changes soon became evident. The publication in 1976 of the collec-
tion of interviews in Antoni Bartomeus's Els autors de teatre català: Testimoni
d'una marginació (Catalan Playwrights: Evidence of a Marginalization),
with a lucid prologue by Joan-Anton Benach, offered food for thought on the
virtual break-up of the Independent Theatre, closely linked to the sidelining
of playwrights.43 This marginalization also reflected the change of artistic
direction which the Independent groups had taken, one which emphasized the
importance of the role of the director at the expense of the author, as well as
developing physical movement and collective creation.
The crisis in the Independent Theatre around 1970 meant that groups had to
consider taking what was for them the difficult route of turning professional.
This was a path that a collective like Els Joglars had already followed, and,
with time, others would do the same. In fact, the disintegration of the
Independent Theatre, coupled with the decreased importance of text-based
theatre, favoured the development and subsequent dominance of non-textual
theatre until well into the 1980s.
On the other hand, the start of a new political era meant the steady growth
of an institutionalized theatre, subsidized by the new democratic political
institutions at various levels: state, autonomous community (i.e. Catalonia),
province (the Diputacions) and town council. The concept of institutionalizing
the theatre began to take root among certain members of the theatrical pro-
fession, who longed to put behind them the previous era of deprivation. They
wished to move to the sort of institutionalization which would leave artistic
management in the hands of professionals, while at the same time highlight-
ing the public service aspect of theatre. The result was that the Assemblea
d'Actors i Directors (Standing Conference of Actors and Directors), formed
in 1975, and very closely bound up with the transition that the country was
going through, unsuccessfully demanded in February 1976 the creation of a
Barcelona Municipal Theatre and a Theatre of Catalonia. At the same time, the
Assemblea laid the groundwork for a parliamentary bill on theatre, a process
to which the Institut del Teatre also contributed in a separate initiative.
Under pressure to respond to the new social and political environment,
Barcelona City Council finally decided to charge the Assemblea d'Actors i
Directors with the task of organizing a popular theatre festival at the Grec
Theatre in the summer of 1976, a project which received broad public support.44
However, when it was proposed that the Assemblea d'Actors i Directors
should join with the Assemblea de Catalunya (Standing Conference of
Catalonia), a broad democratic socio-political movement with activists drawn
from different social classes, members of the Assemblea d'Actors i Directors
who were close to the Anarchists left the association. The breakaway group
formed the Assemblea de Treballadors de l'Espectacle (Standing Conference
of Theatre Workers), and, following a spectacular production of Don Juan

Tenorio at the Mercat del Born in November 1976,45 concentrated their activ-
ities at the Saló Diana between 1977 and 1979.
It was also towards the end of 1976 that the Teatre Lliure ('Free Theatre')
was founded. It was a cooperative formed by a group of professionals from
various collectives in the Independent Theatre sector.46 Initially under the
direction of Pere Planella, Lluís Pasqual and Fabià Puigserver, the new
premises in the Gràcia district of Barcelona developed from the outset along
the lines of the Piccolo Teatro in Milan, without abandoning the ADB model
of an international repertoire combined with a much more limited presence of
contemporary Catalan drama. They have performed Catalan versions of plays
by Molière (Le Misanthrope, 1982), Shakespeare (As You Like It, 1983, Timon
of Athens, 1991), Marlowe (Edward II, 1978), filtered through Brecht's ver-
sion, Goldoni (Una delle ultima sere di carnovale, 1985), Beaumarchais (Le
Manage de Figaro, 1989), Strindberg (Miss Julie, 1985), Chekhov (The
Three Sisters, 1979), Brecht (The Rise and Fall of the City of Mahagonny,
1977, The Good Woman ofSetzuan, 1988), Genet (Le Balcon, 1980), O'Neill
(Mourning Becomes Electro, 1991), Botho Strauss (The Park, 1992), Yukio
Mishima (Madame de Sade, 1986), Brian Friel (Dancing at Lughnasa, 1993),
and Bernard-Marie Koltès (Roberto Zucco, 1993).
The Catalan presence is limited to Camí de nit (Night Road) (1976), written
and directed by Lluís Pasqual; Espriu's Story of Esther (1982), co-produced
with the Centre Dramàtic de la Generalitat, with whom they also produced
Santiago Rusinol's L'hèroe (The Hero) in 1983; Guimerà, Terra baixa (Marta
of the Lowlands) (1990); Joan Oliver, El 30 d'abril (30th April) (1987); Josep
M. Benet i Jornet, El manuscrit d'AU B ei (AU Bei's Manuscript) (1988) and
Ai, carai! (Well I'm Blowed!) (1989); Guillem-Jordi Graells, Titànic 92
(1988); and Ramon Gomis's Capvespre al jardí (Evening in the Garden) (1990).
The Fundació Teatre Lliure—Teatre Públic de Barcelona (Teatre Lliure
Foundation—Public Theatre of Barcelona) was created during the 1987-88
season, with the aim of furthering the objectives of the Lliure. In addition to
Catalan and Spanish public institutions, internationally-known Catalan fig-
ures such as Montserrat Caballé, Antoni Tàpies and Núria Espert are members
of this new Foundation in a private capacity. In January 1989 the City Council
of Barcelona gave the Teatre Lliure its own building, the Palau d'Agricultura
(Agriculture Palace), which is situated next to the Flower Market. This was
intended to allow the Lliure collective, which has since 1988 had an active
Associació d'Espectadors (equivalent to a Friends of the Lliure group), to
carry out a broader development of its activities in the more or less immedi-
ate future. The Teatre Lliure is also an active member of the Union of
European Theatres which Giorgio Strehler founded in Paris in 1989. One year
later, Lluís Pasqual, head of the Centro Dramàtico Nacional (National Theatre
Centre in Madrid) between 1983 and 1989, was named director of the Odéon
Theatre of Paris, a position in which he was confirmed in 1993.47
If the Lliure is today broadly accepted within Catalan society, it is because,
among other things, it has been able to create its own distinctive trademark,
in which text and spectacle are blended in an excellent example of contem-
porary Art Theatre. The late Fabià Puigserver (1938-1991) was undoubtedly
the man who lent cohesion to the group, as well as acting as the undisputed
teacher and guide of contemporary Catalan stage design.48
However, it was not until 1981 that Catalan theatre really became cemented
on a solid institutional base, when the Culture Department of the Generalitat
de Catalunya leased the premises of the Romea Theatre and decided to con-
vert it into what is now the Centre Dramàtic de la Generalitat (Theatre Centre
of the Generalitat, or CDG). Following a brief period under the management
of Xavier Fàbregas, Hermann Bonnín, who had reorganized the Institut del
Teatre in 1970,49 was named as director of the CDG in January 1982. This
body was formed as a theatre production centre with its own artistic direction,
came under the jurisdiction of the Direcció General de Teatre, Música i
Cinematografia (General Office of Theatre, Music and Film) and was funded
by the Entitat Autònoma d'Organització d'Espectacles i Festes (Autonomous
Entity for the Organization of Spectacles and Festivals) of the Generalitat, an
autonomous body with a separate budget from that of the Culture Department.
At the outset, Bonnín established several objectives, aiming to incorporate
diverse theatrical trends within the first—and at that moment the only—
institutional theatre in Catalonia. These objectives may be summed up as
follows: to create a national and international repertoire; to encourage the
writing of new works and the rediscovery of the avant-garde through the Teatre
Obert (Open Theatre); to collaborate through co-productions with initiatives
from established groups and theatres, both public and private; to offer to a
wider audience some of the more contemporary productions within the
International Theatre/Xavier Regàs Memorial Cycle, in memory of the Latin
Theatre Cycle that Regàs had organized at the Romea between 1958 and 1969.
Bonnin's time at the CDG (1982-88) may be divided into two periods.50
The first (1982-85) constitutes the real phase of expansion, in which the
Centre produced texts from the national tradition which had been seldom or
badly performed by professional groups since 1939: Batalla de reines (Battle

of Queens) (1984), by Frederic Soler; Àngel Guimerà's Maria Rosa (1983);
and Josep M. de Sagarra's El cafè de la Marina (Cafe Marina) (1983). Only
one post-1939 play was produced, Joan Brossa's La pregunta perduda o el
corral del lleó (The Lost Question or The Lion's Enclosure), which was per-
formed as part of the International Theatre Congress in Barcelona in 1985.
Above all, non-Spanish works were performed: Ibsen's Peer Gynt (1983);
Brecht's Threepenny Opera (1984); and Cocteau's L'Aigle à deux tetes
(1985). As far as co-productions were concerned, in addition to those with the
Lliure, special reference should be made to Shakespeare's The Tempest, with
the Núria Espert Company, directed by Jorge Lavelli in 1983. Bonnin also
invited the following companies: Els Joglars; the Comédie Française, which
performed Molière's Dom Juan at the Liceu in 1982; and the Royal Shakespeare
Company, which put on Much Ado About Nothing at the Tivoli Theatre in
1984. As in the early years of the Teatre Lliure, Catalan text-based theatre was
relegated to a minor position, included within the Teatre Obert, a 'forum open
to contemporary creation and experimentation', inspired by French models,
and performed at various venues in Barcelona. Highlights were the first per-
formances of Brossàrium (a compendium of Joan Brossa's works) (1982);
Serra i Fontelles's Deixeu-me ser mariner (Let Me Be a Sailor) (1983); and Benet
i Jornet's La desaparició de Wendy (The Disappearance of Wendy) (1985).
When in the 1985-86 season Bonnin changed the direction of the CDG,
it—in theory—began to function according to a specific model of a National
Theatre as a production unit, based just as much on the creation as on the dis-
semination of theatrical works. It had a public video library, a publications
service (Documents del Centre Dramàtic and Textos del Centre Dramàtic), a
computerized archive of productions, and a commendable policy of individ-
ual and group subscriptions. During Bonnin's final three seasons, following
the abandonment of the Romea Fringe at the Teatre Obert, the CDG returned
to its old premises, while waiting in vain for a second theatre for the Centre.
In practice, the programming criteria were very similar to those of previous
seasons. As for foreign theatre, the Centre produced texts by Schnitzler,
Pirandello, Claudel and Duras. Catalan drama was limited to Sagarra's La
filla del Carmesí (Carmesí's Daughter) (1987) and Quim Monzó's El tango
de Don Joan (Don Juan's Tango) (1986), directed by Jerome Savary.
The appointment of Domènec Reixach as director of the CDG in 1988 sig-
nified a conscious decision to opt for contemporary Catalan drama, through
new productions and the periodic awarding of grants aimed at promoting
playwriting. Reixach has restored dignity to writers of earlier decades, by

ensuring that their plays have been performed under excellent artistic condi-
tions: Jordi-Pere Cerdà's Quatre dones i el sol (Four Ladies and the Sun)
(1990); Josep M. Munoz Pujol's Alfons Quan (Alfonso IV) (1990); Josep M.
Benet i Jornet's Desig (Desire) (1991); and Rodolf Sirera's Indian Summer
(1991), as a co-production. He has provided opportunities for younger or
unknown writers: Elsa Schneider (1989), Tàlem (The Marriage Bed) (1990)
and Carícies (Caresses) (1992), all by Sergi Belbel; Francesc Pereira's
Infimitats (Base Deeds) (1991); and Joan Casas's Nus (Naked) (1993).
Finally, the CDG has incorporated into its programming authors from other
literary genres, such as Manuel Vazquez Montalbàn, Eduard Mendoza,
Montserrat Roig and Narcís Comadira.
In connection with the 1992 Olympic games, the CDG organized a highly
successful programme of what it called 'classical Catalan theatre', with Sagarra's
L'hostal de la Glòria (Gloria's Inn); El desengany (Disillusionment), a
baroque piece by Francesc Fontanella never previously performed; Guimerà's La
filla del mar (The Daughter of the Sea); Carles Soldevila's Civilitzats, tanmateix
(Civilized, Nonetheless); and monologues from Víctor Català's La infanticida
(The Infanticide) and Santiago Rusinol's Feminista (Feminist).51
In fact, the CDG is now following a line which a National Theatre could
easily adopt,52 especially since the Josep Maria Flotats Company, which was
also subsidized by the Generalitat, and had its headquarters at the Poliorama
Theatre from 1985 until 1994, was unable to establish the basis of a solid,
coherent national theatrical policy. Flotats, in Un projecte per al Teatre
Nacional (A Project for the National Theatre) (1989), insisted on favouring
international drama, to the detriment of that of Catalonia.53 Despite this, under
pressure from the new direction taken by the Lliure and the CDG, Flotats did
try in his last few seasons at the Poliorama to show an interest in Catalan theatre,
in performances of such works as Ara que els ametllers ja estan batuts (Now
that the Almonds Have Been Shaken from Their Trees) (1990), based on a
selection of texts by Josep Pla; Flotats's own version of the Sirera brothers'
Cavalls de mar (Sea Horses) (1992); and Rodolf Sirera's El verí del teatre
(The Audition) (1993). The very small degree of attention which Flotats has
devoted to Catalan drama contrasts with the quantity of foreign drama he has
promoted. Examples include Wedekind, Spring Awakening (1986); Rostand,
Cyrano de Bergerac (1985); Molière, Le Misanthrope (1989); Musset,
Lorenzaccio (1988); Nathalie Sarraute, Pour un oui ou pour un non (1986);
and Sam Shepard, True West (1990).
Josep Maria Flotats in Ara que els ametllers ja estan batuts (Now that the Almonds
Have Been Shaken from Their Trees), at the Poliorama Theatre, Barcelona, 1990.
Success Stories of the 1980s

Since the second half of the 1980s, Catalan theatre has shown signs of an
extraordinary vitality and diversity over a broad range of activities.54 Several
factors are at work here. In the first place, there is the by now well established
hegemony of non-text based theatre. The second factor is the considerable
qualitative change brought to text-based drama by a combination of respect-
ed private and public institutions in Catalonia. The so-called 'return to the
text', which most countries underwent during the 1980s, has produced such
original results as those derived from the close collaboration between Robert
Wilson and Heiner Muller, or between Patrice Chéreau and Bernard-Marie
Koltès.
The year 1986 can probably be considered the date of the recovery of text-
based drama in Catalonia. In November of that year, the Institut del Teatre and
the Centre Dramàtic d'Osona (Theatre Centre of Osona) organized a conference
on the topic: La dramatúrgia catalana actual: Autors i directors (Contemporary
Catalan Theatre: Authors and Directors). Prompted by this conference, the
playwright Jordi Teixidor published an article (in Spanish) in the daily nation-
al newspaper El País entitled '(.Una generación sin teatro?' ('A Generation
without Theatre?'), in which he spoke openly about the marginalization of

Catalan playwrights in the face of the ongoing institutionalization of the theatre.
Teixidor insisted on a series of commonplace elements: the futility of text-based
drama, the difficulties faced by playwrights trying to have their work performed
in unambiguously professional conditions, since 'when they are performed, it
is in an almost clandestine fashion and with derisory resources', or the danger
of mediocrity resulting from production techniques which it had not been
possible to develop normally during the Franco regime.55
Nine years after Teixidor's cry from the heart, it is undoubtedly true that the
Teatre Lliure and the CDG have decided to give an increasingly greater place
in their repertoire to productions of contemporary drama. This criterion has
been followed by other private and public bodies and has made it possible to
stage authors who were promoted in the 1960s and 1970s, such as Josep M.
Munoz Pujol, Jordi Teixidor, Josep M. Benet i Jornet and Ramon Gomis. The
death of Salvador Espriu in 1985, of Joan Oliver in 1986 and of Manuel de
Pedrolo in 1990, allied to the virtual inactivity of Joan Brossa as a 'theatrical
poet', has meant that it is the new playwrights and those who were promoted
in the 1960s and 1970s whose work is most performed. During the 1980s, there
was a tendency for these younger playwrights to undertake a critical revision
and substantial modification of the forms, techniques and themes of the past,
when they were writing under the influence of Brecht and epic theatre. The
1980s have also allowed the development of a dramatic literature infused with
new values. Of these new dramatists, it is Sergi Belbel whose work best demon-
strates the influence of recent tradition, although his professional, ideological
and aesthetic orientation was initially different from that of his predecessors.
The third factor influencing the vitality and diversity of contemporary
Catalan theatre has been the strengthening of the role played by theatres run
or supported by public bodies. As well as the CDG, the sense of public mis-
sion is important for the Teatre Lliure and the Josep Maria Flotats Company.
While the inauguration of the National Theatre of Catalonia is yet to come, it
should be mentioned that the Diputació of Barcelona set up the Theatre
Centres of Osona and El Vallès in 1986. In 1985, the Barcelona City Council
officially opened the former Mercat de les Flors (Flower Market), with the
aim both of showing the best of experimental theatre and promoting contem-
porary dance in Catalonia.
The fourth factor is the development of a commercial theatre in Catalan,
which has led to the recovery of the mythical pre-Civil War theatre in the
Paral·lel. In the 1986-87 season, a producer of commercial theatre by the
name of Anexa, together with the groups El Tricicle and Dagoll-Dagom, set
up Tres x 3 S.A. (Three x 3, pic), a joint company based at the Victòria
Theatre, where non-textual performances by El Tricicle have alternated with
revues or musical comedies by Dagoll-Dagom, including The Mikado (1986),
Mar i cel (Sea and Sky) (1988), based on Àngel Guimerà's play of that name,
and Flor de nit (Night Flower) (1992), based on a text by Manuel Vazquez
Montalbàn.
The revival of a genuinely Catalan commercial theatre has not been parallel-
ed by a similar revival of conventional Castilian Spanish theatre in Barcelona.
The few examples there have been have taken place at the Goya Theatre,
while the Villarroel Theatre, Teixidors-Teatreneu or SAT (Sant Andreu
Theatre) have favoured less conventional forms of commercial productions,
with a predominance of works in Catalan.
The fifth and final point concerns the important role played by the Sala
Beckett, which was created in 1988 by José Sanchis Sinisterra in order to
accommodate the experiments of Teatro Fronterizo (Frontier Theatre), found-
ed in 1977, but also to promote text-based theatre workshops as a place where
young talent could be developed effectively. The appearance of so-called
'small-format' theatres like the Malic Theatre, Tantarantana Theatre and
Artenbrut, as well as the reorganization of the Tàrrega Theatre Festival as a
market for alternative projects, indicate the rich variety of theatre on offer in
Catalonia at the end of 1993.56
The Future
If 1939 was in many ways zero hour for Catalan culture, Catalan theatre (both
text-based and non-textual) has, since the 1980s, experienced one of the rich-
est periods in its history. Catalonia still lacks the sort of genuine theatre policy
coordinated by public bodies that exists in most European countries. Never-
theless, the Teatre Lliure, the CDG and the Josep Maria Flotats Company
have taken part in specific European theatrical fora, encouraging a more
active exchange between professionals. The aforementioned groups and others
still have only limited access—once language barriers have been broken
down—to foreign theatres. Such access is fully enjoyed by groups linked to
non-textual theatre such as Els Joglars, Comediants and La Fura dels Baus.
The integration or participation of the Teatre Lliure and the CDG in inter-
national (generally European) organizations could permit a theatre policy
which would favour contacts and artistic exchanges, at least within the frame-
work of the EU. Such a policy would also promote and disseminate the most
representative contemporary Catalan plays in Europe. It would probably

favour the development by Catalan public and private bodies of their princi-
pal role, which is to stage both foreign and Catalan drama.
Catalan theatre inevitably continues to have to bear the burden of a series
of deficiencies that weigh heavily on its shoulders. These include the great
gap between foreign schools of acting and their Catalan counterparts which
lack a solid tradition; the minor importance that is still given to Catalan stage
design; and the lack of competent theatrical publications to keep Catalans regu-
larly in touch with what is going on in foreign theatre.57 If Catalan theatre is
to continue its expansion into the next century, it needs to achieve a balance,
a genuinely shared public recognition of both text-based and non-textual theatre
within a framework of an active, continually-developing theatrical reality.
Notes
1. See Robert Marrast, El teatre durant la guerra civil espanyola: Assaig d'història
i documents, Monografies de Teatre, 8 (Barcelona: Institut del Teatre/Edicions 62,
1978); Jordi Coca, Enric Gallén and Anna Vazquez, La Generalitat republicana i el
teatre (1931-1939), Monografies de Teatre, 11 (Barcelona: Institut del Teatre/Edicions
62, 1982).
2. A popular Nativity piece, adapted to suit the needs of individual communities,
which is still performed during the Christmas period in Catalonia, Els pastorets depicts
the clash between the forces of good and evil, represented on the one side by the shep-
herds (the pastorets), Christ and the angels, and on the other by the devils. Although it
is essentially religious in character, it also possesses humour.
3. La Vanguardia Espanola, 31 December 1939, p. 3, reproduced in Josep Benet,
Catalunya sota el règim franquista: Informe sobre la persecució de la llengua i la cultura
de Catalunya pel règim del General Franco (la part) (Barcelona: Blume, 1978), pp.
376-77. The decree is, of course, written in Castilian Spanish.
4. See Enric Gallén, El teatre a la ciutat de Barcelona durant el règim franquista,
Monografies de Teatre, 19 (Barcelona: Institut del Teatre/Edicions 62, 1985), pp.
115-20. On the publication of the translations in seven volumes between 1945 and
1953, see Joan Samsó Llenas, 'La cultura catalana: Entre la clandestinitat i la represa
pública' (unpublished doctoral thesis, Universitat de Barcelona, 1976), I, 361-68.
5. See Bartolomé Barba, Dos anos alfrente del gobierno civil de Barcelona y varios
ensayos, 2nd edn (Madrid: Javier Morata, 1948), pp. 28-29.
6. See Enric Gallén, El teatre a la ciutat de Barcelona, pp. 138-52; 'La represa de
Josep M. de Sagarra (1946-54)', in Homenatge a Antoni Comas (Barcelona: Universitat
de Barcelona, Facultat de Filologia, 1985), pp. 133^4-9. For Sagarra's contribution to
Catalan theatre in general, see the illustrated Josep Maria de Sagarra, home de teatre:
1894-1994, ed. by Enric Gallén and Miquel M. Gibert (Barcelona: Centre Dramàtic
de La Generalitat de Catalunya, 1994).
7. Jordi Sarsanedas, 'Teatre català al Romea', Ariel, supplement no. 2 (September

1948), 7.
8. A district to the south of Barcelona.
9. JoanTriadú, 'Les vinyes del Priorat', Ariel, no. 22 (February 1951), 43^5 (p. 46).
10. Joan de Malniu, 'Perills que assetgen la nostra cultura', Occident, nos. 2-3
(June-July 1949), 66-71 (p. 68).
11. Fèlix Bohigas, 'El ocaso del teatro Catalan', Momento, no. 108 (9 April 1953), 26;
M., 'El ocaso del teatro Catalan', Laye, no. 10 (December 1950), 14.
12. Enric Gallén, El teatre a la ciutat de Barcelona, pp. 188-245. See also Enric Gallén,
'Entre la supervivència i la institucionalització', in Romea, 125 anys (Barcelona:
Generalitat de Catalunya, Departament de Cultura, 1989), pp. 101-05.
13. On the work of this actor see Josep M. Poblet, Joan Capri, Biografies Populars, 7
(Barcelona: Alcides, 1964); Joan Oliver, 'Els monòlegs de Joan Capri', in Tros de
paper, Cinc d'Oros, 2 (Barcelona: Ariel, 1970), pp. 131-32; Josep Pla, 'Joan Capri',
in Homenots: Quarta sèrie, Obres completes (Barcelona: Destino, 1975), XXIX,
437-79.
14. Néstor, 'Al doblar la esquina: El teatro Catalan', Destino, 6 June 1959, p. 25.
15. 'Cartas al director', Destino, 13 June 1959, p. 3. Nestor's position, reaffirmed in
another article, 'La crítica y el insulto', Destino, 20 June 1959, p. 25, generated a fruit-
ful polemic in the magazine. See, for example, the articles by Josep M. de Sagarra in
the new section 'Antepalco': 'Sobre teatro', 20 June 1959, p. 33; Todavia el teatro',
27 June 1959, p. 15; 'Teatro protegido', 4 July 1959, p. 13. See also the article by
Xavier Regàs, 'El problema del teatro Catalan', 11 July 1959, p. 43.
16. Jordi Carbonell, 'El teatre d'ahir, d'avui i de demà', in El llibre de tothom
(Barcelona: Alcides, 1963), p. 120.
17. Carbonell, 'El teatre d'ahir', p. 120.
18. The contribution of modernisme to the development of Catalan theatre is dis-
cussed in the Introduction.
19. See Jordi Coca, L'Agrupació Dramàtica de Barcelona: Intent de teatre nacional
català (1955-1963), Monografies de Teatre, 9 (Barcelona: Institut del Teatre/Edicions
62, 1978).
20. An auca is a collection of drawings, accompanied by short, often satirical verse,
which tells the life story of the fictional character in question.
21. See Joaquim Molas, 'Els "Quaderns de Teatre" de l'Agrupació Dramàtica de
Barcelona', Serra d'Or, 3, no. 1 (January 1961), 22-23.
22. The dates given in parentheses are the dates of the appearance of the Catalan
translations.
23. See Enric Gallén, El teatre a la ciutat de Barcelona, pp. 154-58.
24. See Xavier Fàbregas, Tres notes sobre l'Escola d'Art Dramàtic Adrià Gual',
Serra d'Or, 18, no. 203 (15 August 1976), 541^6.
25. See Guillem-Jordi Graells, L'Institut del Teatre: 1913-1988: Història gràfica
(Barcelona: Institut del Teatre, Diputació de Barcelona, 1990), especially pp. 83-131.
26. See Salvat's own appraisal in Ricard Salvat, 'Concreció de la nova objectivitat: el
realisme èpic', in El teatre contemporani: 2/ El Teatre és una ètica?—De lonesco a
Brecht, Llibres a l'Abast, 40 (Barcelona: Edicions 62, 1966), pp. 79-145; Javier
Orduna, El teatre alemany contemporani a l'estat espanyol fins el 1975, Monografies
de Teatre, 25 (Barcelona: Institut del Teatre, 1988), pp. 136^2.
27. See Gonçal Pérez D'Olaguer, Teatre independent a Catalunya, trans, by Maria
Luïsa Coromines, Quaderns de Cultura, 62 (Barcelona: Bruguera, 1970); Xavier
Fàbregas, 'Deu anys de teatre independent', Serra d'Or, 14, no. 159 (15 December
1972), 817-35, reproduced in Teatre en viu (1969-1972), Monografies de Teatre, 23
(Barcelona: Institut del Teatre/Edicions 62, 1987), pp. 209-18.
28. See Joan Castells, 'Els premis de teatre (1963-1973)', Els Marges, no. 4 (May
1975), 106-16.
29. See Jordi Carbonell, 'Teatre èpic', Serra d'Or, 7, no. 11 (November 1965),
835-39; Joaquim Molas, 'Pròleg', in Baltasar Porcel, Teatre, Col·lecció Europa de
Literatura, 2 (Palma de Mallorca: Daedalus, 1965), pp. 7-25.
30. Xavier Fàbregas, 'El teatre català de 1965 a 1967', El Pont, no. 31 (May 1969), 45.
31. See Ricard Salvat, Els meus muntatges teatrals, L'Escorpí, 31 (Barcelona:
Edicions 62, 1971), especially pp. 9-20.
32. Prior to 1975, one could mention Scena (1949-68), linked to the FESTA group,
which ran to 168 issues, La Carreta (1961-66) (18 issues), and Yorick (1965-74) (64
issues). The year 1957 saw the first appearance of Estudiós Escénicos, the organ of the
Institut del Teatre (Theatre Institute): the name was changed from the Castilian
Spanish Estudiós Escénicos to the Catalan Estudis Escènics from number 22 in March
1983.
33. E. X., 'Paraules sobre el darrer ple dels premis', Serra d'Or, 11, no. 112 (15
January 1969), 27-34 (p. 32).
34. See 'Deu notes pragmàtiques' and 'Professionalitat i oportunisme', in Feliu
Formosa, Per una acció teatral, L'Escorpí, 28 (Barcelona: Edicions 62,1971), pp. 77-84.
35. For details of a questionnaire distributed to the spectators of the Capsa Theatre in
February 1974, see Jaume Melendres, 'El "test" del CAPSA', Primer Acto, no. 171
(July-August 1974), 83-88. For a critical appraisal of the Capsa Theatre, see Joan-
Anton Benach, 'Pròleg', in Enric Gallén, El teatre a la ciutat de Barcelona, pp. 5-17.
36. Its name is in Castilian Spanish. See Gonzalo Pérez de Olaguer, TNB: Història
d'una imposició, Col·lecció Estudis, 4 (Barcelona: Institut del Teatre, 1990).
37. On 'total theatre' and collective creation see David Bradby, Modern French Drama:
1940-1990, 2nd edn (Cambridge: Cambridge University Press, 1991), pp. 116-226;
David Jeffery, Towards creation collective', in European Theatre 1960-1990: Cross-
Cultural Perspectives, ed. by Ralph Yarrow (London: Routledge, 1992), pp. 11-44.
38. On Capmany's theatrical activities see the articles by Joan-Anton Benach, Josep
Anton Codina, Josep Montanyès and Ricard Salvat in Maria Aurèlia Capmany i
Farnés (1918-1991), Gent de la Casa Gran, 6 (Barcelona: Ajuntament de Barcelona,
1992), pp. 129-206.
39. See J. M. Benet i Jornet, 'Cent volums d'El Galliner', in Àngel Guimerà, La filla
del mar, Els Llibres de l'Escorpí: Teatre/El Galliner, 100 (Barcelona: Edicions 62,
1987), pp. 5-11.
40. See Àlex Broch, 'El teatre de Joan Brossa: De l'al·lucinació a la imatge', Canigó,
20 April 1974, p. 12; Xavier Fàbregas, Introduction to Poesia escènica, 6 vols
(Barcelona: Edicions 62, 1973-83), I (1973), 5-52.
41. See Xavier Fàbregas, 'La setmana tràgica, del document a la reflexió', Serra
d'Or, 17, no. 185 (15 February 1975), 122-24, reproduced in Teatre en viu (1969-1972),
pp. 165-68; Joaquim Vila i Folch, 'Grups: Escola de Teatre de l'Orfeó de Sants', Avui,
29 October 1976, p. 31.
42. See Xavier Fàbregas, 'Particularitats de la nova temporada teatral', Canigó, 23
December 1972, p. 11.
43. Antoni Bartomeus, Els autors de teatre català: Testimoni d'una marginació, La
Mata de Jonc, 6 (Barcelona: Curial, 1976).
44. See Antoni Bartomeus, Grec-76: Al servei del poble, Petit Avenç, 1 (Barcelona:
Avance, 1976); Grec: 1929-1986 (Barcelona: Ajuntament de Barcelona, 1987), pp. 81-107.
45. See Mercat del Born: 'Don Juan Tenorio': Anàlisi d'una autogestió per l'A.D.T.E.
(Barcelona: Assemblea de Treballadors de l'Espectacle—Iniciativa» Editoriales, n.d.).
46. See El Teatre Lliure cumple diez anos, Cuadernos El Publico, 10 (Madrid: Centro
de Documentación Teatral, 1986); Teatre Lliure: 1976-1987 (Barcelona: Teatre
Lliure/Publicacions de l'Institut del Teatre, 1987).
47. See Ytak, Lluís Pasqual: Camí de teatre, Col. Escena (Barcelona: Alter Pirene,
1993); Patrícia Gabancho, La creació del món: Catorze directors expliquen el seu
teatre. Monografies de Teatre, 24 (Barcelona: Institut del Teatre, 1988), pp. 241-61.
48. Isidre Bravo, L'escenografia catalana (Barcelona: Diputació de Barcelona, 1986),
p. 279. See also Patrícia Gabancho, La creació del món, pp. 305-22; Fabià Puigserver:
Hombre de teatro, ed. by Guillem-Jordi Graells and Juan Antonio Hormigón, Sèrie:
Teoria y Pràctica del Teatro, 6 (Madrid: Publicaciones de la Asociación de Directores
de Escena de Espana, 1993). The last reference contains many illustrations of
Puigserver's designs.
49. Guillem-Jordi Graells, L'Institut del Teatre, pp. 133-73.
50. See Enric Gallén, 'Entre la supervivència i la institucionalització', in Romea, 125
anys, pp. 95-119; and 1981-1991—CDG 10 anys (Barcelona: CDG, Institut del
Teatre, Diputació de Barcelona, 1991).
51. See Cicle de teatre clàssic català: Temporada 1991-1992 (Barcelona: Generalitat
de Catalunya, Departament de Cultura, 1992).
52. See the articles by Joan de Sagarra, 'El futur del Centre Dramàtic', and Enric
Gallén, 'Un programa nacional', Quadern, El País, 21 March 1991, p. 6.
53. See Josep Maria Flotats, Un projecte per al Teatre Nacional (Barcelona: Edicions
de la Revista de Catalunya, 1, 1989).
54. See the dossier 'Intervenció pública i oferta teatral a Catalunya', in Cultura,
October 1990, pp. 27-50; the section 'El teatre de Barcelona, avui', in Barcelona:
Metròpolis Mediterrànea, 17 (1990), 65-128; 'Dossier: Dramatúrgia catalana actual',

in Pausa, nos. 9-10 (September-December 1991), 23-91.
55. Jordi Teixidor, '^Una generación sin teatro?', El País, 13 November 1986, p. 35.
56. See 'Dossier: Petit format', Pausa, no. 13 (March 1993), 13^9.
57. Two journals should be mentioned: Pausa (founded in 1989), publishes articles on
theatre, is linked to the Sala Beckett and co-published by the Institut del Teatre and the
Diputació of Barcelona; Escena deals with contemporary issues and, following its initial
period in 1989-90 when nine numbers were published, reappeared in September 1993
as a bimonthly magazine.
Chapter 2
Drama and Society
Rodolf Sirera
(with a supplement on Josep Lluís & Rodolf Sirera by John London)
Contrary to a widely-held view, the Francoist victory did not in the medium
term signify a radical change in Catalan theatre. Instead, several of its minor-
ity trends and authors simply disappeared. In some instances, this disappear-
ance occurred in a quite literal sense, either through death or, as was the case
with many writers, through exile. At the same time, the more conservative,
innocuous and commercially-oriented features of pre-Civil War theatre were
consolidated, unhindered except by the limits imposed by the Franco regime
as far as religious, family and sexual matters were concerned. This is due in
part to the fact that even at the height of the Civil War, when Republican Spain
was immersed in an unsuccessful attempt to carry out a proletarian revolution,
an openly political theatre was never fully developed. There are a few very
isolated exceptions that are valid as historical documents, but far less inter-
esting from a strictly theatrical perspective. In fact, the theatre of the Civil
War—the type performed by collectivized companies controlled by trade
unions—was not radically different from that of the pre-Civil War period, nor
from the majority of theatre which continued to be offered after the War, once
the use of the language was again authorized.
Hence, one should not forget that most of the Catalan plays which were
performed for nearly two decades after 1946 were essentially commercial,
populist, melodramatic or, at the very best, isolated attempts to recover a form
of high comedy from a stylistic point of view. Innovation was pushed to one
side. This can be explained only partially by the political repression and prob-
lems of censorship which were undoubtedly severe. More fundamental causes
were that Catalan audiences had no respect for the theatre and that those who
controlled the production and promotion of plays lacked ambition. They were
politically very moderate or conservative, in Josep Maria Benet i Jornet's words,
'bungling shopkeepers who, in the end, demonstrated that they did not even
possess business sense'.1 Furthermore, no generation of realist dramatists

emerged in Catalonia, in contrast with contemporary Castilian theatre, where
dramatists of the stature of Antonio Buero Vallejo (1916-) and Alfonso Sastre
(1926-) were leaders in the genre.
It is hardly surprising, therefore, that the most interesting theatre of the
1940s and 1950s was precisely the sort which turned its back on the frail
infrastructure of the professional Catalan stage, but which was always in the
shadow of contemporary Castilian theatre. It developed out of marginal
schemes which were civic or cultural rather than strictly theatrical; in other
words, they were unconnected with contemporary professional practices.
Several obstacles were placed in the way of the performance of these marginal
works, and many of them never even appeared in print. This initially was a
theatre written by authors who were not primarily dramatists, or who, attracted
by the investigation of form, felt themselves to be automatically excluded
from the limited and strictly conservative theatrical market of the period.
Because of this, they felt able to 'disregard their immediate surroundings and
embark on adventures of a certain scope',2 which only later came to be prop-
erly appreciated. In addition, it should also be remembered that this was a type
of theatre which, because of the political nature of its texts, had very little
chance of obtaining the official authorization necessary for performance.
Whereas some dramatists remained in the realm of minority theatre, others
directly confronted the commercial stage. The result was a new kind of drama
which came to terms with the socio-political reality of the period.
Joan Oliver
The dramatic career of Joan Oliver (1899-1986) is important for an under-
standing of the development of Catalan theatre in the post-Civil War period.
He was simultaneously a playwright and a poet, writing poems under the
pseudonym of Pere Quart. Unlike other playwrights of his generation, Oliver
always tried to write drama that might be called normal, or, in Xavier
Fàbregas's words, 'capable of fitting into the established moulds of the
mechanics of the theatre—a manager, a company of professional actors, a reg-
ular season and a broad-based and established audience',3 similar to the situ-
ation that prevailed in Catalonia in the decades preceding the Civil War.
However, he was prevented from achieving his goal by an often unexpected
set of circumstances, both before and after 1936.
Oliver's early plays were elegant, sarcastic, and necessarily guided by the
rules of the piece bien faite. Allò que tal vegada s'esdevingué (What Might
Drama and Society 45
Have Happened) (1930), a 'bourgeois' comedy whose main characters are

Adam, Eve and other figures from Genesis, stands out from this early group
because of its amusing religious iconoclasm. Despite this, it did not find a
niche in Catalan drama of the 1930s. Nonetheless, the author did not hesitate
to accept the new situation in which the Catalan theatre found itself at the out-
break of the Civil War. Thus, in the middle of the War, in 1938, Oliver wrote
what is undoubtedly the most important Catalan political play of the conflict,
La fam (Hunger).
Hunger is Oliver's only political work, with the exception of an earlier text,
El 30 d'abril (30th April), which was written between 1934 and 1936. This
earlier play is a whimsical comedy, or a 'historico-burlesque accident' as the
author calls it, and was not performed or published until the appearance of the
Complete Works. It starts from the assumption that an independent Catalonia
has existed ever since the Middle Ages, and its plot concerns the preparations
for the invasion of the Balearic Islands by the imaginary Catalan King James
VIII following the conquest of Valencia and Roussillon.4 For Xavier Fàbregas,
who sees the play as a parable, 30th April demonstrates how 'the weakness of
a capitalist, expansionist society prevents the social transformation of
Catalonia even more effectively than the foreign power [Spain]', and how 'the
frustrated longing for national fulfilment can hide the deception of reactionary
elements'.5 Fàbregas was undoubtedly influenced in his comments by the
mood of social radicalism which was prevalent in Spanish intellectual circles
of the 1960s and 1970s, and with hindsight it is difficult to sustain such views.
For, while the play's content might have provoked a degree of scandal when
it was written and more especially in the post-Civil War years, the political
message is diluted by a series of situations which are more suited to the
music-hall than the serious stage. It is these situations which control the
development of the play, and not even the structure, which is full of ramifica-
tions, manages to bind the disparate elements into a coherent whole. It should
be emphasized that traditional Catalanism does not appear in a positive light:
the King, who should symbolize a spirit of national affirmation, takes
Castilian (i.e. Spanish) classes because
JAUME [speaks in Castilian Spanish] . . . I want to embark
on a crusade to purify my language. The steady and consider-
able flow of immigrants from Spain has corrupted . ..
CÉSPEDES (corrects him) Corrupted.
JAUME . . . has corrupted our spoken language, and in some
social sectors, especially in the middling class . ..

CÉSPEDES (corrects him) Middle class . . .
JAUME Yes . . . the ravages are very notable. My ancestors
did not deal with the problem and I love . . . , er want6 to make
up for the neglect.. . That is why I intend to make the teaching
of Spanish obligatory, and I am providing the example for people
to follow. Dear . . ., er because7 the best way to decastilianize
Catalan is to have an in-depth knowledge of both languages.8
The invasion of Mallorca is about to fail as the King has won first prize in
the lottery and forgets his obligations, amidst the machinations of his two mis-
tresses and advisors, and an exotic Oriental spy, Xamuka Xepé, in the service
of the highest bidder. In the end, the King is successful in both war and love,
in the shape of the (female) Councillor of War, whose surname is the same as
that of Antonio Maura, the leader of the Spanish Conservative Party during
the early years of this century and his son Miguel, who attempted to create a
democratic Right during the Republic.9
Hunger was first performed in 1938 and won the Teatre Català de la
Comèdia Prize in the same year. This play was clearly influenced by the
events of May 1937, when, during four days of great tension and violence,
groups of Anarchists and Members of the POUM (Workers' Party of Marxist
Unity) fought against the forces of the Republican Government and the
Communists.10 The POUM, which did not belong to the Communist International
and was accused by the latter of being Trotskyist, was practically neutralized
during this conflict.''
Oliver does not abandon conventional dramatic structures in Hunger, but
rather modifies them for his own uses. The traditional three acts of contem-
porary commercial theatre are replaced by six 'episodes', although the work
is still referred to as a 'comèdia',12 a description that is hardly appropriate in
the circumstances. It centres on the ideological conflict between two stereo-
typical characters. On the one hand there is Samsó, who personifies strength,
instinct, individualism, spontaneity and impetuous bravery, but also uncom-
radely egotism, an inability to plan for the future, and unreliability. On the
other side of the equation is Nel, who symbolizes reason, natural goodness, a
sense of collective commitment, and thought, but also a surfeit of analysis, a
lack of physical bravery and an indecisiveness which can paralyse him and
make him unable to act at critical moments. This confrontation takes place at
the heart of a revolution, which Samsó, with his blind and spontaneous valour,
brings to a triumphal conclusion, but which he is incapable of managing after-

wards, because he cannot stand organization or discipline. At the end of the
play, Samsó returns to his life of freedom, as outsider or clochard, incapable
of stirring himself for anything except his basic instinct—hunger. None-
theless, he refuses to be manipulated by the careerists who are preparing the
counter-revolution. Although the work may appear not to be set in a specific
time and place, there are obvious references to the tense and violent struggles
between Anarchists and Communists, which characterized the Republican
side during the Civil War. Hunger is theatrically gripping, despite the
sketchiness and artificiality of some of the situations and characters—in
particular Lupa, Nel's partner who later becomes Samsó's mistress and is
eventually saved from disillusionment and humiliation by the love which her
first partner has continued to feel for her. In Benet i Jornet's words, the play
represents 'a genuine attempt at renewal', which, 'if it had been possible to
continue, could have subsequently been completed'.13
The defeat of the Republic forced Oliver into exile, along with so many
intellectuals. He was not to return until 1948. He took up the theatre again at
the end of the 1950s, when he attempted, with little success, to write tradi-
tional plays of the 'well-made' variety. Of the three plays included in Tres
comèdies (Three Plays) (1957),14 Primera representació (First Performance),
Ball robat (Stolen Dance)—one of Oliver's best plays—and Una drecera (A
Short Cut), only the last title was ever performed commercially (at the Romea
Theatre in 1961). A Short Cut was a deliberate attempt by the author to write
'a box-office success', along the lines of the 'religious melodramas of the
period',15 and was performed under the title La gran pietat (Great Piety).
However, it was not the popular success that Oliver had hoped, and, as a
result, he subsequently limited himself to translations and to short plays. One
of his translations, a free adaptation of Shaw's Pygmalion (1957), has become
a classic of its kind.16 His short plays met with some success within the
Independent Theatre sector. It is significant that artists working within this
sector found Oliver's major works at the very least just as distant from their
own preoccupations, if not completely at odds with them.
Salvador Espriu
On 26 January 1939, Francoist troops entered Barcelona. A few weeks later,
in early March, the poet Salvador Espriu (1913-1985) wrote Antigona
(Antigone), the first of his relatively small collection of dramatic works. In
1936 he had translated Llorenç Villalonga's Fedra (Phaedra) (originally written
in Castilian) into Catalan; years later, Espriu was to create his own version of
the classical myth in the shape of Una altra Fedra, si us plau (Another
Phaedra, Please), which he wrote for the actress Núria Espert in 1977. Apart
from these plays, Espriu's dramatic output is limited to a couple of texts for
poetry and music shows; to the dramatic works produced by the director
Ricard Salvat and based mainly on narrative texts by Espriu, under the title of
Ronda de mort a Sinera (Death Around Sinera) (1965); and the work which
represents the high point of his drama, Primera història d'Esther (The Story
of Esther), the original version of which was completed in 1948, and which is
unanimously considered by critics to be 'one of Espriu's most brilliant texts,
and indeed one of the most brilliant plays in the whole of Catalan drama'.17
The Story of Esther was first performed by the Agrupació Dramàtica de
Barcelona in 1957, and again in 1965 by the Escola d'Art Dramàtic Adrià
Gual, directed by Ricard Salvat. This second production was extremely well
received, and was one of two Espriu works produced by Salvat in that year,
the other being Death Around Sinera. Both productions were subsequently
performed at important European theatre festivals, in Paris, Nancy and Venice.
Espriu's Antigone is a bitter reflection on the Civil War. Eteocles and
Polynices, sons of Oedipus and brothers of Antigone and Ismene, have been killed
fighting for their father's throne, which is subsequently occupied by their
uncle, Creon. One of the brothers, Eteocles, is judged to have acted justly, while
the other, Polynices, is considered unworthy, and on Creon's orders his remains
are not buried: 'the power that has emerged from a harsh combat does not
want embers stirring beneath the ashes. Cruel laws must be passed to keep the
lips of the vanquished man silent.'18 As we all know, Antigone did not obey
her uncle: faced with a choice between the laws of man and her own con-
science, she chose the latter, although it meant that she would die. Her death
is also a sacrifice of atonement, so that the curse on Thebes may be lifted.
Antigone's sacrifice may be seen as a parallel with Espriu's own self-imposed
'civil death'. After the beginning of the Civil War he lived the life of a recluse
which was on the one hand the necessary abandonment of his
individual projects, but on the other implied an absolute rejec-
tion of the new situation. This was to be understood in later
years as a political and ethical demonstration of a kind of
protest and a lack of conformity.19
A new character was introduced into the 1963 version of the play, which, with
minor revisions, appeared in the Complete Works. He is the Lucid Counsellor,
and in some ways he conveys the author's views on the unjust death of
Antigone. In the following speech, he recommends that silence be maintained:
because lucidity, which leaves the action intact together with
its unintelligible complications, immediately irritates every-
one, even the most lucid. And because, if everything is weighed
up, perhaps my words do represent a threat, not to me as speak-
er but to you as listener.
(p. 59)
Espriu's fascination with the classical world, as illustrated in Antigone, is
also evident in his narrative prose, written mainly before the Civil War. The
classical cycle is completed by further references in The Story of Esther which
are brought together in a daring synthesis. On the one hand is Biblical culture,
in particular the Old Testament, from which he takes the image of the Jews as
a humiliated, persecuted and imprisoned people, just like the Catalans in the
post-Civil War period. On the other hand are symbolic worlds, created by the
author from memories and from characters of the Arenys de Mar (which he
calls Sinera) of his childhood,20 and of the Barcelona (which he calls Lavinia)
of his adult life, both of which are integrated into the land of Konilòsia, a
mythical version of Catalonia. Espriu had developed this world in his narra-
tive texts, especially in the collection entitled Ariadna al laberint grotesc
(Ariadne in the Grotesque Labyrinth) (1935). In this collection we find all the
'schematic and grotesque, anti-psychological, dehumanized' characters21
which, with the exception of Antigone, shape the author's dramatic universe.
Consistent with this idea is the fact that, in The Story of Esther, the Biblical
Shushan is occasionally transformed into Sinera, some of whose characters
play an important role. (Examples are the Most High, the blind man, Snow
White and her female assistant.) Thanks to the way in which Esther manipu-
lates her husband (the King of Persia), the Jewish people, 'a people margin-
alized within a state governed by totalitarian methods', manage to save them-
selves from the machinations orchestrated against them by Prime Minister
Hainan. As a result, the Jews 'for once manage to hold the reins of power.
However, once they are in power, they behave no more wisely than those who
usually exercise it' ,22 In the play, Espriu refers to 'the monotonous series of
conflicts and assassinations, excesses and infamies, because in Persia and all
over the world a cruel idiocy has always enslaved man and made his history
a nightmare of dark and barren pain' ,23
The Story of Esther is presented aesthetically as a puppet farce, in a fashion

which recalls Valle-Inclan's esperpentos.24 There are many parallels between
the esperpentos and The Story of Esther, not least in the rich and complex
vocabulary which was hitherto unknown in Catalan theatre. Critics have
pointed out resemblances to the late plays of Valle-Inclan, and similar com-
parisons could be made between Espriu and Brecht, although, curiously,
Espriu confesses that he was not familiar with Brecht's work when he wrote
The Story of Esther.2?* The puppet convention facilitates the transference of
characters from the Biblical world (which is ultimately a literary world) to the
invented world of Sinera, and helps to create a large number of varied cross-
references which act as an element of alienation. However, in contrast to
Brecht, the world in which these characters move is almost exclusively a verbal
one, and does not possess any narrative function if we except the speeches of
the Most High. It is a world where the characters can enjoy the pleasure of
discourse, while formalizing its rules quite consciously in the process. One
could even claim that the characters exist only to be able to express them-
selves through the spoken word.
The Story of Esther is an almost unique play, an isolated example with no
clear predecessors or successors, be it within Espriu's own sparse dramatic
output or in any of the Catalan playwrights who have followed him. It is the
result of a poet's fascination with the aesthetic and moral possibilities of
drama. It was written at a precise moment in its author's literary development,
and was in tune with his intellectual commitment to the time and to the coun-
try in which he lived. As a result, it is virtually impossible to reproduce out-
side this context and these circumstances the difficult balance which the play
achieves in a masterly way using such a variety of linguistic registers. The
Story of Esther is one of the most emblematic, surprising Catalan plays of the
post-Civil War period and one of the great monuments within the whole of
Catalan literature.
The world of classical mythology and the ever-present background of
Sinera are also found in Espriu's final dramatic experiment, Another Phaedra,
Please (1977), and, in Ricard Salvat's adaptations for the theatre of Espriu's
non-theatrical work: Gent de Sinera (Sinera People) (1963), and Death
Around Sinera (1965), of which the former was a first draft.26 Salvat's inter-
pretations incorporate new elements and offer new perspectives on the origi-
nal literary material. They are the result of his particular interests and training
as a director.
Josep Maria Benet i Jornet

At the same time as Ricard Salvat was putting on his adaptations of texts by
Espriu, the first plays of Josep Maria Benet i Jornet (1940-) were being premi-
ered. Benet has justly been described as the most important Catalan play-
wright of the last thirty-five years, and his work highlights the generation gap
that developed in post-Civil War Catalan drama. It has already been stressed
that, political restrictions and censorship apart, in the 1940s and the 1950s, the
most innocuous and conservative formulae of pre-Civil War Catalan drama
were repeated ad infinitum, and that the most interesting texts were those
which were written beyond the boundaries of professional theatre. This dis-
connection was deepened in the 1960s and the 1970s, with the appearance of
a new generation of writers and theatrical practitioners—from the so-called
Independent Theatre—whose origins and aims were very different to those of
the preceding generation. Theatre was now linked to social commitment and
to a clear desire to confront the Franco regime. Much of this drama is a prod-
uct of a specific place and period of history and in general it has not survived
the passage of time particularly well.27 Benet i Jornet's plays have endured
better than those of any other playwright. This is undoubtedly due to the fact
that the author has always tried to transcend the limitations of the specific
socio-political situation into which he was born, and to write plays that could
be equally valid in any period and within any set of circumstances.
Benet i Jornet first became known in 1963, when he won the Josep M. de
Sagarra Theatre Prize, for Una vella, coneguda olor (An Old, Familiar Smell),
which presents the hopeless life of the lower classes in post-Civil War
Catalonia. The play had the same importance for Catalan drama as Antonio
Buero Vallejo's Historia de una escalem (Story of a Stairway) (1949) did for
its Castilian Spanish counterpart.28 Benet's early works alternate between a
realist and a more symbolic mode. The realist plays contain a blend of elements
from three different sources: Spanish dramatists of the 1950s and early 1960s
(such as Antonio Buero Vallejo and Lauro Olmo), North-American playwrights
(such as O'Neill, Williams and Miller), and traditional Catalan theatre. A case
in point is Fantasia per a un auxiliar administratiu (Fantasy for an Adminis-
trative Assistant) (1964).
The plays of the symbolic mode are characterized by the influence of
Brecht, the best example being the Drudània trilogy, comprising Cançons
perdudes (Drudània) (Lost Songs [Drudània]) (1966), Marc i Jofre o els
alquimistes de la fortuna (Marc and Jofre or the Alchemists of Fortune)
(1968), and La nau (The Ship) (1969). Drudània is an imaginary country,
enclosed 'within a state of a region of that name, between Greece and Albania,
facing the sea, neither too rich nor too poor' ,29 It is a symbol of Catalonia
which at that moment was beginning to struggle openly to recover its own
identity. Although the three plays belong to the same cycle, they are quite dif-
ferent stylistically, and there is in fact only a limited connection between
them. In the last of the three, The Ship, Drudània is reduced to a mere literary
allusion, and has no link with the action of the play.
Lost Songs presents not only a conflict between stultifying tradition and
progress, which symbolizes access to the modern world, but also the class
struggle, and the exploitation of the weak by the powerful. It is an unmistak-
ably political play, still basically realist, but with some symbolist features,
such as the portrayal of the half-crazed beggar woman La Draps, who is a
direct result of Espriu's influence. Techniques from epic theatre are present in
Marc and Jofre, including the introduction of adventure-novel themes, a common
feature of Benet's subsequent plays. The play develops on different time levels:
a twentieth-century researcher writes a novel about a character from the past,
Marc. Marc is a poet, an intellectual full of doubts, a coward, and, in the end,
a collaborator with the oppressor; but history has converted him into a popular
hero. The Ship takes 'as its point of departure a typical science fiction story
[. ..] the spaceship that travels through the centuries and whose occupants
[...] forget where they are'.30 In Marc and Joffre, and more particularly in
The Ship, there are themes which recur frequently in Benet's later plays:
doubt, indecision, cowardice, punishment, atonement, the commitment of the
individual to society, and childhood as a place of escape.
The two strands of Benet's early work—realism and the influence of epic
theatre—are combined in Berenàveu a les fosques (You Were Having Tea in
the Dark) (1971), his most ambitious play at that point in his career, written
with the declared aim of coming to terms with the post-Civil War period.
According to Joan-Lluis Marfany,
the recreation of the same petit bourgeois settings as in his early
work is presented to us here using Brechtian distancing and
with the aid of typical techniques [...]. The counterbalancing
of these historical scenes, which are realist in nature, with
recited scenes corresponding to the present time, indicates
continuity and the link between the past of the immediate post-
Civil War years and the situation in the 1960s. The same technique
allows the very precise descriptive details of the former to lose
their localist flavour and acquire historical realism.31
Nevertheless, the first professional production of the play in 1973 was a

complete failure. This was due in no small measure to reviewers, who generally
had little sympathy with Benet's aims and shortsightedly criticized the play
for possessing what has been called 'the now obsolete formula of Spanish
realist theatre of the 1950s'.32 The failure caused Benet to interrupt the
lengthy gestation of the first important work of his mature period—Revolta de
bruixes (Witches'Revolt) (1975)—in order to write La desaparició de Wendy
(The Disappearance of Wendy) (1973). A work of special significance in
Benet's career, this play is a beautiful love song to the theatre, in which he
cites childhood memories, readings, films and characters from popular
mythology. These were all devices which he had already sketched in earlier
texts written for audiences of children and young people, but which, in The
Disappearance of Wendy, appear in a clearly adult context.
The failure of You Were Having Tea in the Dark should not be viewed as an
isolated event, but needs to be seen in the context of the changes in sensibil-
ity which were occurring in the theatre all over the Iberian Peninsula. As the
Independent Theatre movement was being consolidated, a growing emphasis
was placed on the collective creation of plays rather than on literary works by
single authors, with the resulting reaction against the written text, and the
placing of greater stress on staging. These changes led many playwrights of
Benet's generation into a cul-de-sac. It is not surprising, therefore, that in the
1970s, a key period in the evolution of his work, Benet should write not only
children's theatre, but also scripts and adaptations of plays for television. He
did not give up working on more serious texts, but found difficulty in having
them performed in Catalonia.
Paradoxically, Benet had his first great success with public and critics alike
outside Catalonia, when Witches' Revolt was performed in Castilian at the
Centro Dramàtico Nacional in Madrid in 1980. It is a complex play, with a
completely closed spatial/temporal structure, where real and theatrical time
overlap. The play deals with a group of cleaning ladies who work the night
shift at a factory. Each tells her own private story, with its symbolic significance,
and together they are locked in a conflict which seems to be a labour dispute.
The death of a man, the nightwatchman, who acts as a deus ex machina, precipi-
tates the denouement: the triumph of collective unconsciousness, irrationality,
the magical escape at the heart of the group in the face of reason, commitment
and the free will of the individual. The conclusion seems pessimistic: the
world, despite the preachings of the social realist school, cannot be changed,
a fact which produces a tragic bewilderment in the intelligent individual.
Witches'Revolt is the first major text of Benet's second period. This is a period
in which the author synthesized earlier methods and rethought his theatrical
style, without abandoning realist formulae, overlaid with distancing techniques.
Quan la ràdio parlava de Franco (When the Radio Spoke of Franco)
(1979) was based on a collaborative venture with the novelist Terenci Moix
which never got beyond the design stage and could be described as a period
work, depicting very special historical circumstances. With a prologue and
epilogue located in 1975, the year of Franco's death, the play contains ten
scenes covering the period 1947-1966 and tells the story of characters who
struggle to turn their impossible dreams into reality, trapped as they are in a
working-class district. When the Radio Spoke of Franco has much in common
with Benet's early work. It is permeated with the scepticism and the disillusion-
ment regarding the socio-political evolution of Spain which at the time caused
many nationalist and left-wing fellow-travellers to have serious doubts about
the true extent of the reforms that had already taken place. In some ways,
When the Radio Spoke of Franco is one of the last texts of that political theatre
which was so prevalent during the final years of the Franco regime and the
transition to democracy. After When the Radio Spoke of Franco, Benet aban-
doned the characters and settings of his childhood, namely the post-Civil War
period. In this sense, it is highly revealing that the final words of the play
should be:
For better or for worse, things are different, and the people I
knew will not return with the death of Franco. It's too late. It
doesn't matter. I shall try to forget them and speak of some-
thing else, because it's high time to speak of other things. [. ..]
So let's speak of other things.33
Descripció d'un paisatge (Description of a Landscape) (1978), written at

the same time as When the Radio Spoke of Franco, has no stage directions.
This is the meaning of the title: it is the word that creates and describes the
landscape. The work is based on a modern version of the myth of Hecuba, and
in it Benet develops the themes of vengeance, loyalty to one's principles and
cowardice. But it also contains some very specific instances of scepticism
about the transformation of society and political structures—the impossibili-
ty of keeping one's hands clean when one attains power—which reflect the
sentiments of a sector of Spanish intellectual opinion during the early years of
the new democracy. The play is set in a contemporary Arab country. Zahira
and Kàtila, the daughters of Dr Munàdil, return from exile. Munàdil was an
opponent of the emir and was killed when the revolution was crushed. With
the passage of time, the dictatorship has softened its ferocious image, and can
indulge in such apparently magnanimous gestures as permitting the daughters
to return from exile. But the main purpose of this is to allow revenge to be
exacted on Bassir, whose cowardice cost the life of the son of his mistress,
Zahira. The revenge—the death of Bassir's son and the blinding of Bassir
himself—is carried out under the watchful gaze of the Civil Servant, who at
the same time acts as witness and master of ceremonies. (There are clear links
here with Espriu's Lucid Counsellor.)
The last important text of Benet's second period, El manuscrit d'Alí Bei
(Alí Bei's Manuscript) (1984), also marks his reconciliation with the Teatre
Lliure. At the time he was writing Description of a Landscape, Benet was
leading a group of dramatists who were involved in a bitter row with the man-
agement of the Lliure and with other theatre directors, accusing them of ignoring
contemporary Catalan playwrights. The first performance of Ah'Bei's Manuscript
in March 1988 was a great public success, and received almost unanimous
praise from those same critics who until relatively recently had shown little
enthusiasm for Benet and other authors of his generation. Aesthetic taste was
changing; modern audiences—together with the institutionalized theatres
which were the fruits of self-government and democracy—supported a return
to written texts. Moreover, the generation of authors who preceded Benet was
dying. All these factors, together with the belatedly-recognized quality of his
theatre, made the premiere of Alí Bei's Manuscript a particularly important
moment in Benet's career.
The message of the play is that it is impossible not only to change the
world, but also to escape from it: we are merely prisoners. Benet uses an old
theatrical device, namely that of the text within the text. However, he takes
the device beyond the limits established in Marc and Joffre. The story written
by He/the playwright/the patient in a hospital in the present tells of Alí Bei,
the pseudonym of the Catalan mercenary Domènec Badia, who acted as a spy
for the Spanish Prime Minister Manuel Godoy on a trip to the Orient in 1805.
But the narrative is seen through the eyes of He/the tubercular man—a child-
hood friend of AH Bei—while the Absolutist troops were besieging Barcelona
in 1823 at the end of the Constitutional Triennium.34 All three characters are,
of course, played by the same actor.35
With Alí Bei's Manuscript, Benet's reputation was firmly established. Ai,
carai! (Well I'm Blowed!) (1988), which was also performed with great success
by the Teatre Lliure, provides the link with the most recent period of Benet's
work. An apparently entertaining comic piece, Well I'm Slowed! reflects

Benet's disillusionment with post-Francoist Spain, and in it he confronts those
members of his generation who have entered the corridors of power.
Desig (Desire) (1989), first performed in 1991, obtained the Catalan
Literature National Prize. Unanimously considered as marking the beginning
of a new period in Benet's drama, Desire is closely linked with his previous
work, despite the appearance of a break. One can also detect parallels (rather
than influences) which reveal the nature of Benet's current concerns: for Sergi
Belbel, Desire recalls Pinter in its plot, Mamet in its dialogue, Koltès in some
of its images, and Beckett in its soliloquies.36 Its form is austere, with four
unnamed characters, two men and two women, who speak, meet, separate,
utter monologues, and move in an undefined space, remote from everything
and everyone: a country house, a road, a car which refuses to move, and a bar.
The action constantly switches to the past or is projected beyond its limits
Àngels Poch and Imma Colomer in Josep Maria Benet i Jornet's Desig (Desire), at the
Romea Theatre, Barcelona, 1991.
towards the undefined territory of desire. All four characters try in vain to
relate to each other through their apparently trivial words which betray them,
for in the end words are 'forms of communication-aggression which have
their complement in a vehicle such as the telephone, a deadly weapon which
transmits words and silences'.37 Perhaps these characters belong to different
levels of reality; perhaps everything is reduced to a hallucination which
engenders this confusion between the real and the imagined spaces and times
of the various characters. The play does not provide us with any more infor-
mation, and the inexplicable tale of mystery which develops is really no more
than the symbolic expression of the clash between desire and reality, the lack
of simultaneity between people's needs and what is emotionally available. As
with all the characters in Benet's best works, we are interested in the impos-
sibility of attaining the unattainable, the longed-for Atlantis, or put more simply,
happiness.
Jordi Teixidor
The great success of El retaule del flautista (The Legend of the Piper) (1968)
which ran for more than a year after its full-scale premiere in 1971, and the
seemingly inexhaustible succession of new editions of the text, have made it
the most representative play of the 1970s, and one of the plays which was
most frequently performed by the Independent groups of the time, both in
Castilian and in Catalan. It could even be said that to a certain extent this pre-
mature success has marked—perhaps in a negative sense—the promising
career of its author, Jordi Teixidor (1939-).
However, The Legend of the Piper was not Teixidor's first play. His dra-
matic works are closely bound up with the committed theatrical activity of the
1960s and early 1970s. He was writing from an unambiguously left-wing
position, primarily through the Popular Theatre Group El Camaleó, in which
he and fellow playwright Jaume Melendres (1941-) were the driving forces.
Among the various adaptations and period plays of those years are L'auca del
senyor Llovet (Mr Llovet's Auca) (1969),38 which is still unpublished. It was
premiered by El Camaleó, and received its first professional performance in
1972 at the Poliorama Theatre. The management of the Poliorama undoubt-
edly wished to cash in on the success of The Legend of the Piper, but this was
not repeated. Mr Llovet's Auca introduces us to the world of the small busi-
nessman who is caught between great economic structures and the unrest of
the workers, who do not see him as the father he says he is, but as the boss he
really is, in other words a class enemy to be combated.
The Legend of the Piper, inspired by the Pied Piper of Hamelin story, was
influenced by Brecht's political and aesthetic views. In Xavier Fàbregas's words,
it 'amply achieved what its author set out to do: to denounce the corruption of
public life, the pact between the Church and the military establishment, and
the ineffectiveness of the hesitant civilian authorities which submit to the will
of the most powerful groups in society'.39 The play contains a prologue and
ten scenes, each one bearing its own title, which acts as a kind of synopsis of
what will take place in the scene. For instance, Scene 1 is indicated as 'Scene
One, in which the citizens are shown pleading for the Town Council's help—
and how much help they got', while Scene 6 is announced as 'Scene Six, in
which the rat extermination monopoly evolves a plan to frustrate its competi-
tor'. From time to time the action is interrupted by songs which, in a totally
Brechtian manner, 'serve to enliven the spectacle and to break up the action
with reflections by the actor or the character and also to prompt the audience
to think'.40 Examples of the titles of the songs are: 'The Song of Going through
Regular Channels', 'The Gospel Song of Passive Resistance', and The Song of
the Businessmen'.
The plot is simple and direct: in the city of Pimburg a sudden invasion of
rats endangers the local government. Although the Reverend Grundig preaches
resignation and justifies the invasion as divine punishment, pressure from the
wheat and textile traders forces the mayor to find expeditious solutions. In the
middle of the crisis a mysterious Piper appears, offering his services to put to
an end to the plague. However, in contrast to what happens in the story of the
Pied Piper of Hamelin, the offer is rejected, since it goes against the economic
interests of the makers of rat-traps and poison. The Piper is imprisoned and
accused of being a sorcerer. The populace protests, riots break out, and the
army is called to re-establish law and order. When the mayor is forced to free
the Piper so that he can rid the town of the rats, the latter refuses the money
and flees. The play ends with the dealings of the traders who, in the face of
the crisis, look only to their own personal gain. The female narrator, before
the curtain finally falls, urges the populace on:
Fellow Citizens, if we show them holes, they plug them up; if
we demand cures, they give us tranquilizers. One way or
another, we always get sat on.41 We've got to find more effi-
cient solutions.42
Teixidor's development as a dramatist was determined to a large extent by

the great success of The Legend of the Piper. For a long time it seemed that
he was destined to be the author of a single play, for none of his subsequent
drama had anything like the same success with audiences or critics. Nonethe-
less, he continued writing within what one might call the epic tradition during
the period of political transition. La jungla sentimental (The Sentimental
Jungle) (1973) centres on the world of capitalism and big business, and has
what its author has called
a dual origin: the performances of Mr Llovet's Auca and, I'm
not afraid to admit it, Dürrenmatt's Frank V. A performance of
Frank V by El Globus of Terrassa and the production of
Bertold Brecht's The Rise and Fall of the City of Mahagonny
at the Liceu Theatre in Barcelona had made me aware of the
extent to which a certain kind of Expressionism can illustrate
the brutal contradictions of our society.43
Dispara, Flanaghan! (Shoot, Flanaghan!) (1974) is an amusing parody in
which 'there are without doubt cliches from Westerns, but the central theme
is the present-day class struggle, with all its different shades of meaning' ,44
Teixidor's overtly political period ended with Rebombori 2 (Disturbance 2)
(1977), a period piece which is a rewriting of an earlier work with El Camaleó
(1971). It is a dramatization of the events of 1789 in Barcelona known as the
'Rebomboris del Pa' ('Bread Disturbances'), which were caused by the
increase in the price of bread, and which have many points of contact with the
events which sparked the French Revolution in Paris.
By the 1980s, an important element of Catalan theatrical activity was in the
hands of institutions, but at the same time Teixidor's theatrical career had
slowed down considerably. He had produced the occasional television script,
won the odd prize and written a few plays which border on the parody of
established genres. Then, in 1988, Residuals led to what Jaume Melendres has
called the birth of the New Jordi Teixidor, to distinguish him from the Old
Jordi Teixidor, the author of The Legend of the Piper. According to Melendres,
the New Jordi Teixidor begins 'his journey with surprising freedom and lin-
guistic skill. [...] The characters' language moves away from that of reason
and direct verisimilitude and becomes less reasonable and more erratic, freer
and more purified, thus taking on an impressive poetic dimension' ,45
Residuals is constructed by two monologues, which may or may not inter-
sect, as the individual director sees fit. The monologues are spoken by char-
acters at the end of their lives, Mr and Mrs V, and the play is reminiscent of
certain French and German plays of recent years. Both characters are condemned
to put up with each other, even to put up with the piece of history that it has
been their lot to live through, and above all to be the relentless witnesses to
each other's decline (which is, in the end, a mirror of their own decline).
Residuals distances itself from the political didacticism and the direct lan-
guage which characterized a major part of Teixidor's early work. However,
there has not been an obvious follow-up to this experiment. His latest play, El
pati (The Yard) (1990), is set in the Paris Commune. While it subordinates the
political struggle to the existential and verbal conflict of its two female char-
acters, Thérèse, the mistress, and Clo, her servant, the play moves in unchar-
tered waters. It is difficult to foresee how attractive this style will prove to be.
Josep Lluís & Rodolf Sirera

If any account of the theatre industry in 1960s Barcelona stresses the consid-
erable difficulties playwrights experienced in having quality Catalan texts
produced under normal conditions, the situation was even worse in Valencia.
It was not just that the region had a highly reduced theatrical life compared to
that of Barcelona. Faced by the almost total absence of serious drama written
in the Valencian dialect of Catalan, the local language had long since been
consigned to the role of creating a distinctly regional, folklòric theatre.46 The
reasons for this are not simply explained by the smaller theatrical infrastruc-
ture of Valencia or the limited financial means available. They also have to do
with the status of Catalan in the Valencia region.47 For the kind of Castilian/
Catalan bilingualism in Catalonia did not exist among the Valencian bour-
geoisie which was largely Spanish-speaking. Moreover, the use of Spanish
became a class weapon, employed to distinguish those with aristocratic aspi-
rations from 'the people'.48
This background accounts for Rodolf Sirera's (1948-) first steps in the
theatre, when he collaborated on productions in Spanish in the late 1960s,
sometimes adapting plays from the Spanish Golden Age, and acting as well as
writing material. From the outset, he took a committed political stance during
the last years of Francoism. Sirera later affirmed that his involvement in theatre
was 'the result of a certain political attitude at a particular moment'. When
this attitude developed into a concern for the 'national reality' of the Valencia
region, Catalan became the stage language.49 The most coherent contribution
to Valencian anti-Francoist theatre was offered by the group El Rogle of
which Rodolf Sirera was a founding member.50 It was with this company that
Sirera produced his first significant text, La pau (retorna a Atenes) (Peace
[returns to Athens}) (1973).51
Along with Teixidor's The Legend of the Piper, Peace is one of the most
popular examples of Brechtian drama to have been written in Catalan. As well as
being very loosely based on Aristophanes's Peace, Sirera's text incorporates
writing by his brother, Josep Lluís (1954-) and Samuel Bosc. The play maintains
the original idea of Trygaeus's journey on a beetle to salvage 'peace' from the
gods, but converts this concept into a satire against modern militarism. So
many people profit from imperialist, colonial wars in a developed capitalist
economy, that it is almost inevitable such wars should continue. Indeed, the twist
in Sirera's play is that Trygaeus fails by the end, and war, not peace, triumphs
most conclusively.
With voiced subtitles for each scene, satirical songs and the projection of
slides, a Brechtian style and message are integral to the work. But a somewhat
unBrechtian tone saves Peace from lapsing into an earnestly edifying strain.
After his son has died, Trygaeus addresses the gods, and declaims: 'By my
vineyards and olive trees put in danger! ...' The dead son gets up and chas-
tises his father: 'Your son's just died and the first thing you think about is your
vineyards . . .!' Trygaeus then hits his son with a cudgel—so that he falls
down (dead) again—and continues pleading to the gods for peace, incorpo-
rating his son's death into the speech.52 A barrage of anachronisms lighten the
tone further and are also politically relevant. Characters listen to 'Radio
Athens' and use telephones. The soldiers wear modern uniforms. Prostitutes
are members of the deliciously onomatopoeiac UPA (Union of Prostitutes of
Athens). There is music from a North-American electoral congress. The arms
manufacturers talk of producing 'Made in Greece' products and entering the
European market (much as Spain was attempting to do at the time). It was
doubtless such allusions that led to Rodolf Sirera having his passport confis-
cated following one performance.
The satirical targets were more precise in Homenatge a Florentí Montfort
(Homage to Florentí Montfort) (1971), El Rogle's next major production, co-
authored by Rodolf and Josep Lluís.53 The homage consists of three parts,
designed to present the literary achievements of a fictitious Valencian author.
First, there is a lecture on the writer, incorporating slides and a parodically
pedantic academic style with an unbearable lyrical bent: 'Oh, Florentí, my
dear Florentí, let my tremulous voice rise to uncover the magnificent sym-
bolism which lies dormant in the very date of your birth!'54 At the end, every-
body sings the 'Anthem of the Association for the Defence of the Traditional
Values of Our Land', printed in the apocryphal programme (which also has a
picture of Montfort in it).55 The second part consists of a recital of some of
Montfort's truly atrocious poems. Then there is the performance of one of his
plays in verse. In an 'Epilogue', the actors fall down, a dance of death goes
through the audience, and the fictitious nature of Florentí Montfort is revealed.
At the centre of the literary parody there are sharp criticisms, both about the
status of culture within the Valencia region and about the sort of bourgeois
society which promotes folklòric, sentimentalist, conservative authors. In the
text of a planned documentary film which was to close the play, but was prohib-
ited by Francoist censorship, the commentary becomes explicit: 'The Valencia
region, its back turned to its reality as a people, continues living tied to a glori-
ous past, and has not adjusted to its present possibilities.'56 Without this
explanation, the show managed to claim some victims. Although many were
pliant accomplices in the joke, there were audiences who believed in the actual
existence of Montfort (together with all his grotesque literary baggage) and
only realized that they had witnessed a satire at the end.57 Rodolf Sirera once
spoke for El Rogle, declaring that their intention was 'never to start from zero,
but to situate ourselves in tradition and then attack it'.58 Homage to Florentí
Montfort is a good example of the procedure, both formally and thematically.
Rodolf Sirera used the idea of a fictional personality again in Plany en la
mort d'Enric Ribera (Lament for the Death of Enric Ribera) (1972) which,
because of censorship, had to wait until after the death of Franco for its premi-
ere production. Subtitled 'A Symphonic Experiment in Biographical Documen-
tation', the play stands as a stylistic turning-point. In Sirera's own words,
'dramatic progress and the production narrative of epic theatre are here reject-
ed'.59 What replaced them was a textual collage of a Valencian actor's life,
divided into sections like the movements of a symphony, ranging from prelude
to coda. In addition to biographical fragments, Sirera incorporated theatre
reviews from 1936, poetry by Ausiàs March, children's literature and scenes
from other plays. In the printed version there is no indication as to which char-
acter is speaking. Speeches are set out side-by-side. Some texts are in bold,
others in italic type. On some pages the text runs horizontally, on others a
vertical pattern occurs. Blank pages allow for the potential development of
verbal 'tunes' already established. (The 'andante' has five such pages.)
Phrases and words are repeated, without any grammatical coherence. Towards
the end, this kind of repetition brings previous themes together. In a fragment
from one column of the 'coda', statements about aesthetic commitment
during the Civil War intertwine with memories of Ribera's incestuous love for
his sister and his pleading (to Franco) about the way he was forced into act-
ing in leftist theatre:
What is needed in Spain is social theatre

Enric Ribera
You 'II marry me when we grow up

Enric Ribera
I didn 't want to, General, they forced me into it!

Enric Ribera60
All this obviously constitutes a challenge for any director to interpret roles
and voices. (Joan Ollé produced a well-received version for the Sitges Theatre
Festival in 1977.) What emerges in political terms is a portrait of an actor
who, rather like the Nobel-Prize winning Spanish dramatist Jacinto Benavente
(1866-1954), sided with the Republic, but was eventually actively accepted
within Francoist theatrical culture. Moreover, in relation to regional concerns,
Ribera specifically refuses to act in Valencian Catalan, and dismisses Valencian
theatre as a minor comic genre for purely local consumption. Amidst stylistic
innovations, Sirera was still expressing his political preoccupations.
Not all of the texts he wrote during Francoism were so directly political.
Whereas Peace carried an epigraph by Brecht, the Tres variacions sobre el joc
del mirall (Three Variations on the Mirror Game) (1974) are dedicated to
Groucho (rather than Karl) Marx. They play with theatrical convention in a
way reminiscent of Dadaist drama and lonesco. In an 'Epilogue in Homage to
Alfred Jarry', Pere Ubu enters, cries 'Justrice!' [sic], and the lights go up on
an auditorium filled with an audience dressed in black. Other short texts subvert
the detective genre and Greek tragedy.61
By the end of the Francoist period, Rodolf Sirera was pessimistically pro-
claiming: 'it would be too idealistic to think that the theatre changes things.
Theatre doesn't change anything, just as culture and art don't change any-
thing.'62 This pessimism was voiced in Memòria general d'activitats (General
Report on Activities) (1976), collectively written and produced by El Rogle as
their final show, in the year following Franco's death. Conceived in allegorical
form, the play concerns the activities of a Belgian theatre company and reveals
personal tensions within members of the group, as well as wider questions of
the role of a minority language in a social and political context. A potential
explanation for El Regie's failure in establishing effective committed Valencian
theatre comes when the promoter who has hired the Belgian group describes
whom they will be acting for: English tourists who understand neither French
nor Flemish. It therefore does not really matter what language they perform
in (French or Flemish, or, in El Rogle's case, Spanish or Catalan); the theatre

is hardly important anyway. As the promoter says, referring to the tourists:
'It's merely a question of taking them to the theatre from time to time . . . It's
a cultural custom we've always wanted to respect.'63
Despite such views on the superfluous status of theatre in Valencian society,
the Sirera brothers continued, during the transition to democracy, to write
plays dealing with events that had clear historical resonances. Their trilogy
entitled La desviació de la paràbola is set against a background of Valencian
history spanning 1868-1902.64 The precise social context of each play allows
specific conflicts to surface, even if the action takes place in fictional loca-
tions in the Valencia region. In El brunzir de les abelles (The Buzzing of the
Bees) (1975), the concentration on a firm manufacturing church candles and
votive offerings leads to representations of the changing influence of the
church according to national politics. (Religious pictures are withdrawn from
the set and replaced in response to wider cultural changes.) The place of work-
ers in the capitalist enterprise also comes under scrutiny.65 El còlera dels déus
(The Cholera of the Gods)66 (1976) jumps from 1875—the end of The
Buzzing of the Bees—to focus on three days during the cholera epidemic
which hit the Valencia region in 1885. With blackmail, swindling and the key
role of a local newspaper, The Cholera of the Gods has strong echoes of
Ibsen's An Enemy of the People.61 But the intrigue is directly compared to
national events in a form which has contemporary relevance. The corrupt
mayor of the play proudly declares: 'I find consolation in the thought that my
corruption is only very s m a l l . . . , only a modest grave, in the cemetery which
now carries the name of Spain.'68 El capvespre del tròpic (The Twilight of the
Tropic) (1977) continues this vision of irreversible decline.
The dialogue in these historical plays is realist, including sometimes heavy-
handed exposition of background events. Rodolf Sirera returned to a Brechtian
style in L'assassinat del doctor Moraleda (The Murder of Doctor Moraleda)
(1978), a kind of political mystery novel given dramatic form. At about the
same time, in a two week respite from longer projects, he wrote his most suc-
cessful play to date, El verí del teatre (The Audition) (1978). Performed in
France, Britain, Ireland and all over Spain, The Audition is a compelling dia-
logue set in Paris in 1784. An aristocrat (called, with echoes of the Marquis
de Sade, simply 'Marquis de . . .') invites an actor (Gabriel de Beaumont) to
his home to make him perform Socrates's death scene. Having been dissatis-
fied by Gabriel's first performance, the Marquis leads him into believing that
the wine he drank earlier was in fact poison and that Gabriel will receive the
Abel Folk and Sergi Mateu in Rodolf Sirera's El verí del teatre (The Audition), at the
Poliorama Theatre, Barcelona, 1993.
antidote only if his next performance is adequate. After his second perfor-
mance, the Marquis gives his victim another drink which is not the antidote,
but a real, deadly poison for which there is no cure. The final death scene
takes place after the play has ended.
The Audition is not just an eighteenth-century version of Anthony Shaffer's
Sleuth. The Catalan title means 'the poison of (the) theatre' and, bolstered by
the mention of Socrates, gives much of the game away from the start.
However, several references keep sending one back to the text from different
perspectives. There is mention of Rousseau in relation to cruelty, and the dia-
logue draws some inspiration from Diderot's Paradoxe sur le comédien. The
characters discuss whether real emotions are actable onstage and any audi-
ence is left wondering who, of the two, is the better actor. At the beginning,
the Marquis pretends to be a servant so well that Gabriel believes his perfor-
mance and treats him accordingly. On the eve of the French Revolution, a
series of class associations therefore come to the surface. Layers of irony,
revealed, then concealed, find their place in a faultless dramatic structure. Of
course, the real performance has to occur offstage, but until the closing
moments, the drug of drama—another form of theatrical poison—keeps us
hooked.®
Rodolf gave death a more comic treatment in his Bloody Mary Show
(1979), subtitled 'Dramatic Suggestions for a Cabaret Show'. Made up of
sketches, dances, tricks, puppetry, songs, slides, film and a ventriloquism act,
its strongest and blackest moments come from simulated audience participation,
when it looks as though members of the public have volunteered as victims.
In one such instance, two actors/volunteers stand with little blocks on their
heads. The blocks have representations of an eye and a heart drawn on them.
The star marksman, blindfolded by another (real) member of the audience,
shoots at the volunteers. They both drop down dead, one with his or her face
covered in blood and the other with blood over the chest.70
The most striking characteristic to emerge from Rodolf Sirera's theatre pro-
duced from the late 1970s onwards has been the author's versatility at work-
ing in highly different styles. He has written a drama on the medieval Catalan
figure Arnau (1978) and, in collaboration with his brother and on his own, two
opera libretti.71 In spite of formal disparities, two general directions are iden-
tifiable in Sirera's work developed during the 1980s. The first is a concern
with personal emotional issues portrayed by a reduced number of contempo-
rary characters, in plays like La primera de la classe (Top of the Form) (1984)
and Indian Summer (1987).72 The second comprises a continuing historical
preoccupation, in the three plays written with Josep Lluís and collectively
entitled Trilogia de les ciutats (Trilogy of the Cities).1^
The only onstage characters in Top of the Form are two women who were
once at school together. Anna is single and Olga, the one who was always 'top
of the form', has apparently just left her husband. As they drink and talk, it
gradually unfolds that they have loved the same man, but that they also feel a
type of affection for each other. The rivalry between them is given a twist at
the end so that Anna is, in her own way, 'top of the form' as well. While the
running conversation between the former class mates is colourful, witty and
flowing, it also includes a reflection on the definition of personal and profes-
sional success. As Olga says: 'We will never do anything extraordinary in
life.'74 Shot through the text is an intense fear of solitude; the women may be
in search of a man, but what they really want is company.
Indian Summer is, according to its author, the completion of a journey start-
ed in Top of the Form,15 but it is a more playful and technically more complex
comedy in which similar scenes are juxtaposed, phrases are repeated and
echoed, and the audience has to remain constantly alert. By describing
Spaniards working in a North-American university campus, Sirera is as much
concerned with the nature of love and generosity as with the loneliness of
temporary exile. Uncertainties as to the chronology of the action never take
away interest from the position of the central protagonist (himself a creative
writer) with regard to two women.
There are also chronological illogicalities, repetitions and echoes in Cavalls
de mar (Sea Horses) (1986), although they are firmly rooted in a history spanning
the beginning of the century to the Spanish Civil War, the conflict which
serves as a focal point for all three plays of the Trilogy of the Cities. It is an
ambitious text and has the appearance of a series of continuous film takes.
Some of the action is indeed centred on the embryonic cinema industry in
Valencia. Yet the play is also about twentieth-century modernization and there
are comments on the European aspirations of Valencians. (Perhaps it is no
coincidence that the piece was written in the same year as Spain joined the
EEC.) Against this political backdrop evolves a personal plot about unfulfilled
love. The blend of historical and emotional strands is more accomplished than
in the previous trilogy and, supported by some strategically placed monologues,
Sea Horses initiated a fresh approach to collaborative writing. This approach
was subsequently exploited in La ciutat perduda (The Lost City) (1993) which
involves the manipulation of the medium of radio.
At the beginning of this chapter, Rodolf Sirera insists on the mediocre level
of most of the Catalan drama performed until the mid-1960s. If the Valencia
region can make any claims to have transformed this mediocrity and produced
a theatre worthy of serious consideration, it is almost entirely due to the work
of the Sirera brothers.
Notes
1. 'El teatre de Joan Oliver al volum segon de les seves obres completes', in La malícia
del text (Barcelona: Curial, 1992), pp. 177-84 (p. 182).
2. Benet i Jornet, 'El teatre de Joan Oliver', p. 182.
3. From Joan Oliver, Obres completes de Joan Oliver, 3 vols (Barcelona: Proa,
1977), II: Teatre original, Prologue, pp. 9-26 (pp. 13-14).
4. Under the Treaty of Utrecht one of the Balearic islands, Menorca, fell under
British sovereignty in 1712 and did not return to the Spanish Crown until 1802.
5. From the Prologue to Joan Oliver, Teatre original, II, 17-18.
6. There is a complicated word play here involving the different meanings of estimar
in Catalan and Castilian.
7. The King begins by using the Catalan word for 'because', which is 'car', before
switching to the Castilian word 'pues'. The complication is that 'caro' in Castilian
means 'dear'.
8. Joan Oliver, El 30 d'abril, in Teatre original, II, 200.
9. See, for example, Raymond Carr, Spain: 1808-1975, 2nd edn (Oxford: Clarendon
Press, 1982), pp. 480-89; Shlomo Ben-Ami, The Origins of the Second Republic in
Spain, Oxford Historical Monographs (Oxford: Oxford University Press, 1978), pp. 57-58.
10. There is a vivid account of these events in George Orwell's Homage to Catalonia.
11. It is also worth noting as an interesting and highly significant fact—or metaphor—
that the President of the Republican Government, Manuel Azana, who was isolated in
Barcelona, took advantage of the fighting to write La velada de Benicarló (The Party
at Benicarló), a brilliant but pessimistic dialogue on the character and causes of the
Civil War. See Hugh Thomas, The Spanish Civil War, 3rd edn (Harmondsworth:
Penguin Books, 1986), p. 661.
12. Comèdia in Catalan normally indicates a play which is light in tone and has a
happy ending, but it can also be used to indicate the more general sense of a play.
13. 'El teatre de Joan Oliver', p. 182.
14. See Joan Oliver, Tres comèdies (Barcelona: Selecta, 1960).
15. Enric Gallon, 'El teatre', in Història de la literatura catalana, ed. by M. de
Riquer, A. Comas and J. Molas, 11 vols (Barcelona: Ariel, 1980-88), XI (1988),
191-219 (p. 214).
16. Joan Oliver, Pigmalió: Adaptació lliure de l'obra de Bernard Shaw, Els Llibres de
l'Escorpí: Teatre/El Galliner, 95 (Barcelona: Edicions 62, 1986).
17. Joan Fuster, Literatura catalana contemporània (Barcelona: Curial, 1972), p. 351.
18. Salvador Espriu, Teatre, which is volume 5 of Obres completes, ed. by Francesc
Vallverdú (Barcelona: Edicions 62, 1990), p. 37. Subsequent references to Espriu's
work (with the exception of The Story of Esther) are to this volume and are given in
the main text. (The Centre de Documentació i Estudi Salvador Espriu in conjunction
with Edicions 62 in Barcelona have recently started to publish detailed critical editions
of Espriu's works.)
19. Carles Miralles, 'Salvador Espriu', in Història de la literatura catalana, ed. by M.
de Riquer, A. Comas and J. Molas, X (1987), 389^146 (p. 390).
20. Sinera is, in fact, a way of spelling Arenys backward. In an English translation of
Primera història d'Esther (The Story of Esther), Sinera is ingeniously rendered by the
translator as Novareba, which spells the South Wales seaside town of Aberavon back-
wards. See Salvador Espriu, Primera història d'Esther (The Story of Esther), trans, by
Philip Polack, The Anglo-Catalan Society Occasional Publications, 6 (Sheffield: The
Anglo-Catalan Society, 1989).
21. Josep Maria Benet i Jornet, 'Visita al laberint grotesc', in La malícia del text, pp. 55-69
(p. 63).
22. Xavier Fàbregas, Teatre d'agitació política, Llibres a l'Abast, 74 (Barcelona:
Edicions 62, 1969), p. 295.
23. Primera història d'Esther (The Story of Esther), trans, by Philip Polack, p. 97.
24. For an introduction in English to the work of Valle-Inclan, see John Lyon, The
Theatre of Valle-Inclan, Cambridge Iberian and Latin American Studies (Cambridge:
Cambridge University Press, 1983). For an anthology of translations, see Valle-Inclan,
Three Plays, trans, by Maria M. Delgado (London: Methuen Drama, 1993).
25. Ricard Salvat, 'El teatro Catalan: Los inconformistas: Salvador Espriu: Primera
història d'Esther', La Carreta, no. 7 (August-September 1962), 14.
26. On the development of the show, see Ricard Salvat, Els meus muntatges teatrals,
L'Escorpí, 31 (Barcelona: Edicions 62, 1971), pp. 49-63; and 'Per a una història de
Ronda de mort a Sinera' which is the Introduction to Salvador Espriu/Ricard Salvat,
Ronda de mort a Sinera (Barcelona: Empúries, 1985), pp. 7-32. See also the translation
Salvador Espriu and Ricard Salvat, Death Around Sinera, trans, by Peter Cocozzella,
Modern International Drama, 14, no. 1 (Fall 1980), 3-60.
27. Plays by writers such as as Baltasar Porcel and Maria Aurèlia Capmany can be
considered within this category, and are discussed by Enric Gallén in Chapter 1.
28. See Enric Gallén, 'La obra de Josep M. Benet i Jornet', in Josep M. Benet i Jornet,
Deseo, Teatro, 17 (Madrid: El Publico, 1990), pp. 13-23 (p. 16).
29. Josep Maria Benet i Jornet, Fantasia per a un auxiliar administratiu (and
Cançons perdudes), Biblioteca Raixa, 78 (Palma de Mallorca: Moll, 1970), p. 119.
30. Josep Maria Benet i Jornet, La nau, Els Llibres de l'Escorpí: Teatre/El Galliner, 40,
2nd edn (Barcelona: Edicions 62, 1983), p. 8. For an English translation of the play see
The Ship, trans, by George E. Wellwarth, in 3 Catalan Dramatists, ed. by George E.
Wellwarth (Montreal: Engendra Press, 1976).
31. 'El realisme històric', in Història de la literatura catalana, ed. by M. de Riquer,

A. Comas and J. Molas, XI (1988), 221-83 (p. 279).
32. Enric Gallén, 'Estudi introductori' in Josep M. Benet i Jornet, Una vella, coneguda
olor. Revolta de bruixes, L'Estel, 12 (Valencià: Edicions Tres i Quatre, 1991), pp. 7^4-6
(p. 22).
33. Josep M. Benet i Jornet (with Terenci Moix), Quan la ràdio parlava de Franco o
Vides deplexiglàs, Els Llibres de l'Escorpí: Teatre/El Galliner, 55, 3rd edn (Barcelona:
Edicions 62, 1990), p. 106.
34. For details on this period, see Raymond Carr, Spain: 1808-1975, pp. 129^16.
35. For a longer analysis of the play see Josep Sebastià Cid's review (in English) of
the text, Catalan Writing, no. 2 (December 1988), 104; Enric Gallén, 'Benet i Jornet o
la passió pel teatre', in Josep M. Benet i Jornet, El manuscrit d'AUBei, Els Llibres de
l'Escorpí: Teatre/El Galliner, 90 (Barcelona: Edicions 62, 1985), pp. 9-29; Maria
Teresa Cattaneo, 'Scrivere l'avventura: A proposito di El manuscrit d'AlíBei di Josep
M. Benet i Jornet', in Dialogo: Studi in onore di Lore Terracini, ed. by Inoria Pepe
Sarno (Rome: Bulzoni, 1990), pp. 129-36.
36. 'El laberinto del deseo', in Josep M. Benet i Jornet, Deseo, pp. 9-11 (p. 11).
37. Jordi Castellanos, 'Desig: Un teatre d'explotació', in Josep M. Benet i Jornet,
Desig, Teatre 3 i 4, 24 (Valencià: Edicions Tres i Quatre, 1991), pp. 15-17 (p. 16).
38. For an explanation of the meaning of auca see Chapter 1, note 20.
39. Història del teatre català, Catalunya Teatral: Estudis, 1 (Barcelona: Millà, 1978),
p. 324.
40. Jordi Teixidor, El retaule del flautista, in Jordi Teixidor, Alexandre Ballester and
Rodolf Sirera, Teatre, Història de la Literatura Catalana, 18 (Barcelona: Edicions
62/Edicions Orbis, 1984), p. 13. For a translation of the play see The Legend of the
Piper, trans, by George E. Wellwarth, in 3 Catalan Dramatists, ed. by George E.
Wellwarth.
41. The Catalan word is 'pegats', which also means 'beaten' and 'patched up'.
42. Teixidor, El retaule del flautista, p. 88; The Legend of the Piper, p. 232.
43. Jordi Teixidor, La jungla sentimental, Els Llibres de l'Escorpí: Teatre/El Galliner, 29
(Barcelona: Edicions 62, 1975), p. 7.
44. Feliu Formosa, 'Pròleg', in Jordi Teixidor, Dispara, Flanaghan!, Els Llibres de
l'Escorpí: Teatre/El Galliner, 33, 3rd edn (Barcelona: Edicions 62, 1989), pp. 5-7 (p. 6).
45. 'Amb un gran passat a l'horitzó', in Jordi Teixidor, Residuals, Biblioteca Teatral, 67
(Barcelona: Institut del Teatre, 1989), pp. 5-10 (p. 9).
46. For the background to Valencian theatre, see Josep Lluís Sirera, Passat, present i
futur del teatre valencià, Descobrim el País Valencià, 5 (Valencià: Institució Alfons El
Magnànim, 1981). A large portion of the book (pp. 45-82) is devoted to an interview
with Rodolf Sirera.
47. The Valencia region (El País Valencià) is known in administrative terms as the
Comunitat Valenciana, or 'Valencian Community', and includes Alicante (the Catalan
name for which is Alacant).
48. See Antoni Bartomeus, Els autors de teatre català: Testimoni d'una marginació,
La Mata de Jonc, 6 (Barcelona: Curial, 1976), p. 108.
49. Antoni Prats and Rodolf Sirera, 'Rodolf Sirera parla de les seues obres dramàtiques'
(Interview), L'Aiguadolç, no. 2 (Spring 1986), 9-17 (p. 9).
50. For a history of the group, see Josep Lluís Sirera, 'Pròleg: "El Rogle", cap a un
assaig d'interpretació', in El Rogle, Memòria general d'activitats, Els Llibres de
l'Escorpí: Teatre/El Galliner, 44 (Barcelona: Edicions 62, 1978), pp. 5-12.
51. An earlier version of the play was premiered by another group in 1970. The
revised published version is dated 1973, although El Rogle performed the text in 1972.
52. Rodolf Sirera, La pau (retorna a Atenes), Els Llibres de l'Escorpí: Teatre/El
Galliner, 27, 3rd edn (Barcelona: Edicions 62, 1982), p. 36.
53. On the role each brother adopts when they write a play together, see Antoni Prats
and Rodolf Sirera, 'Rodolf Sirera parla de les seues obres dramàtiques', p. 12; Jordi
Sebastià, 'Entrevista amb els germans Sirera, autors teatrals: "Un cas de fascinació'",
El Temps, 13 April 1992, pp. 56-58 (p. 58).
54. Josep Lluís and Rodolf Sirera, Homenatge a Florentí Montfort, Els Llibres de
l'Escorpí: Teatre/El Galliner, 18, 2nd edn (Barcelona: Edicions 62, 1983), p. 29.
55. For a reproduction, see Xavier Fàbregas, 'Josep Lluís i Rodolf Sirera i el nou
teatre valencià', Serra d'Or, 17, no. 191 (15 August 1975), 57-61 (p. 59).
56. Josep Lluís and Rodolf Sirera, Homenatge a Florentí Montfort, p. 97.
57. See Bartomeus, pp. 104—05; Josep Lluís Sirera, 'Pròleg: "El Rogle", cap a un
assaig d'interpretació', p. 9.
58. José Monleón, 'Entrevista con Rodolf Sirera sobre el teatro valenciano', Primer
Acto, no. 168 (May 1974), 58-61 (p. 61).
59. Rodolf Sirera, Plany en la mort d'Enric Ribera, Els Llibres de l'Escorpí: Teatre/El
Galliner, 70 (Barcelona: Edicions 62, 1982), pp. 31-32. For a detailed analysis of the
play, see the Introduction to the same volume by Josep M. Benet i Jornet.
60. Rodolf Sirera, Plany en la mort d'Enric Ribera, pp. 111-12.
61. Rodolf Sirera, Tres variacions sobre el joc del mirall, Els Llibres de l'Ecorpí:
Teatre/El Galliner, 36 (Barcelona: Edicions 62, 1977).
62. Bartomeus, p. 106.
63. El Rogle, Memòria general d'activitats, p. 30.
64. The title is a play on the ideas of the 'deflection of the parabola' and the 'deviation
of the parable'. For an analysis of the trilogy, see Xavier Fàbregas, 'De La Gloriosa a
la primera guerra colonial', the Introduction to the third play of the trilogy, Josep Lluís
and Rodolf Sirera, El capvespre del tròpic, Teatre 3 i 4, 7 (Valencia: Edicions Tres i
Quatre, 1980), pp. 7-12.
65. Josep Lluís and Rodolf Sirera, El brunzir de les abelles, Els Llibres de l'Escorpí:
Teatre/El Galliner, 77 (Barcelona: Edicions 62, 1983).
66. The title, like that of the third part of the trilogy, has deliberately Wagnerian
echoes.
67. Rodolf Sirera adapted Ibsen's The Lady from the Sea in 1980. He has also written
Catalan versions of medieval French farces and Chekhov's The Cherry Orchard.
68. Josep Lluís and Rodolf Sirera, El còlera dels déus, Teatre 3 i 4, 6 (Valencia:
Edicions Tres i Quatre, 1979), p. 90.
69. Rodolf Sirera, L'assassinat del doctor Moraleda. El verí del teatre, Els Llibres de
l'Escorpí: Teatre/El Galliner, 47 (Barcelona: Edicions 62, 1978); The Audition, trans,
by John London, in Plays of the New Democratic Spain (1975-1990), ed. by Patricia
W. O'Connor (Lanham, Maryland: University Press of America, 1992).
70. Rodolf Sirera, Bloody Mary Show, Els Llibres de l'Escorpí: Teatre/El Galliner, 54
(Barcelona: Edicions 62, 1980), pp. 25-26.
71. Rodolf Sirera, Arnau, Biblioteca Teatral, 20 (Barcelona: Institut del Teatre de la
Diputació de Barcelona/Edicions del Mall, 1984); Rodolf Sirera, El príncep, Els
Llibres de l'Escorpí: Teatre/El Galliner, 94 (Barcelona: Edicions 62, 1986); Josep
Lluís and Rodolf Sirera, libretto f or El triomf de Tirant, published in the programme for
the production (Valencia: Generalitat Valenciana, 1992). For an analysis of Arnau, see
Antoni Tordera, 'Arnau, l'escenari d'un mite', L'Aiguadolç, no. 2 (Spring 1986), 22-29.
72. Rodolf Sirera, La primera de la classe, Els Llibres de l'Escorpí: Teatre/El
Galliner, 85 (Barcelona: Edicions 62, 1985); Indian Summer, Bromera/Teatre, 2
(Alzira: Edicions Bromera, 1989).
73. Josep Lluís and Rodolf Sirera, Cavalls de mar, Els Llibres de l'Escorpí: Teatre/El
Galliner, 107 (Barcelona: Edicions 62, 1988); La partida (Alicante: Ajuntament
d'Alacant, 1991); La ciutat perduda, Teatre 3 i 4, 31 (Valencià: Edicions Tres i Quatre,
1994). For a general view of the trilogy, see Rafael Pérez Gonzalez's Introduction to
the last play.
74. Rodolf Sirera, La primera de la classe, p. 59.
75. Manuel Molins, 'Introducció: Rodolf Sirera: Els territoris misteriosos', in Rodolf
Sirera, Indian Summer, pp. 9-23 (p. 20).
Chapter 3
Avant-Garde Drama
Joan Brossa
If it were possible to speak seriously of Or i sal (Gold and
Salt) [. . .], we would call it a monstrous product of ignorance
and pride. Never have common sense and the theatre been so
cynically mocked as in this corrosive production, which is
based on the models of Beckett and lonesco, from whom some
of the scenes are almost exactly copied.
So wrote the theatre critic, José Maria Junyent in El Correo Catalan on 5
October 1961. The review is indicative, not only of the appallingly low level
of Spanish theatre criticism during much of the Franco era, but also of the way
in which Brossa's work was hopelessly misunderstood for many years, par-
ticularly in his native Catalonia, by all but the most perceptive of critics.1
Joan Brossa (1919-) is the most prolific of contemporary Catalan dramatists,
his work running to six volumes or over 2200 pages. His first play was writ-
ten as early as 1942, well before Beckett and lonesco were performed in Paris
in the early 1950s. Although there are certain thematic and stylistic similarities
between Brossa, Beckett and lonesco, Brossa himself rejects any suggestion
that he has been influenced by the Theatre of the Absurd. Indeed, he is posi-
tively hostile to it. When asked by Jordi Coca in 1971 for his views on the
subject, Brossa replied: 'I don't like it at all. I am more interested in the Marx
Brothers and all the clowns (except for Dali).'2 Brossa's work is steeped in the
popular culture of Barcelona. His drama reflects the festivals and the speech
forms of the working classes which he had absorbed before 1936. He saw it
as his role to continue the work of the great avant-garde writers of the pre-1936
generation (both Spanish and Catalan) whom he so admires: Josep Vicenç
Foix, Federico García Lorca and Rafael Alberti.
As well as writing independently, Brossa has collaborated with Catalan painters

and musicians of the avant-garde, such as Joan Miró, Antoni Tàpies and the
pianist Carles Santos. Brossa was a founding member of the important avant-
garde art and literary review Dau al Set in 1948.3 Many of his art works
(which he calls Object Poems or Visual Poetry) juxtapose everyday objects in
an unexpected way, and contain satirical comments on Francoist Spain or life
in general. In Burocràcia (Bureaucracy) (1967), two leaves (from trees) are
held together by a paper clip. The expected association would be between the
paper clip and sheets of paper (fulls in Catalan), but Brossa substitutes these
f or fulles, the natural leaves. Colxesa (Lameness) (conceived in 1975) consists
of a bottle of red wine the label of which has the red and yellow colours of the
Spanish flag and a picture of Franco on it. Set next to the bottle is a wine
glass, which, in a distortion of form, seems to bend away from the bottle of
wine. Some of the art works are highly theatrical. In Intermedi (Interval)
(1991), the empty chairs of a chamber trio are accompanied, not by musical
instruments, but by machine guns. There is black humour in this evocation of
an audience/player relationship.
If Brossa calls his art pieces Object Poems, he sees all his artistic and literary
activity in terms of poetry. He has named his plays Scenic or Theatrical
Poetry, and in 1961 wrote: 'I don't believe in the confetti of escapist theatre,
and I also think that "photographic" reduction is limiting and illogical. Poetry
is fundamental, and, set between lies and deceit, it becomes the sun, the wind,
life.'4 In a manner that recalls Lorca's definition of the theatre as poetry which
has come to life and is made human, Brossa defines a written poem as passive
poetry and the theatre as active poetry.5 He has stressed the importance of
imagination in poetry, but rejects fantasy.6 Poetry can be found in the most
prosaic of everyday objects.7 His most important collection of poetry is thus
entitled Poesia rasa (Plain Poetry), an anthology of seventeen books written
in the 1940s and 1950s.»
While Brossa claims to prefer comic actors of the cinema and clowns to the
Theatre of the Absurd, he is also fascinated by other so-called low forms of
entertainment, such as that of the Italian transformist Leopoldo Fregoli. He
loves magic too (he has collaborated many times with the Catalan magician
Hausson), carnival, pantomime and the commedia dell'arte.9 Like many
avant-garde writers, painters and composers of the early twentieth century,
Brossa has integrated all these popular paratheatrical forms into his own
work, and along with everyday objects, has elevated them to the level of high
art. His vision is one of theatre in a wide definition:
Avant-Garde Drama 75
I've always believed that the basic ingredient of the theatre

(and that's why I like Fregoli), is not literature but the carnival.
In this profound sense the theatre will not die because people
carry it deep within them, and it is as old as humanity itself.
Harlequin, Pierrot and Columbine, this is the essence of the
theatre. I mean that the theatre is a means which works on the
imagination and the feelings and not just the intellect.10
Brossa sees popular culture as Surrealist avant la lettre. As the art critic
Victoria Combalia says: 'Brossa compares magic with poetry since, accord-
ing to him, both imply transformation, manipulation of reality.'11 Two of the
most striking and original features of Brossa's plays are their often hilariously
funny juxtapositions, and their startling transformations. In El sabater (The
Shoemaker) (1957), a very ordinary married woman working in a shop which
sells fireworks is transformed into a passionate mistress when her lover comes
into the shop, declaring 'with you I am another woman'.12 In Gran Guinyol
(1957), Pierrot goes round houses collecting electricity bills, and declares to
one of his customers/victims that he calculates the size of debts by moons.
Completely mundane dialogue is set alongside ruminations on mythology, as
in the following conversation from Calç i rajoles (Limestone and Bricks)
(1963) between a husband—who is obsessed with the idea of mythological
heroes and the disasters which befall them—and his wife and daughter:
DAUGHTER (enters; she is very feminine) Dad, I can't find
the umbrella.
HUSBAND We must watch out that no-one attacks us while
we are asleep.
WIFE She's not talking about that; she says she can't find her
umbrella.
(IV, p. 259)
As one would expect from such a radical exponent of the avant-garde,
Brossa is critical of contemporary Catalan commercial theatre. His views
emerge from La sal i el drac (Salt and the Dragon) (1956), particularly
through the ideas of the First Author, who declares that 'life must recover
everything that the theatre has been storing in its coffers' (II, p. 88). His views
are opposed by the Second Author who is willing to provide the theatre owner
with the quick commercial successes he demands. (There is a painful personal
element here, reflecting the fact that Brossa has been so little performed in
SESSIÓ DE TEATRE
ORGANITZADA PER CLUB 49
Representació per primera vegada d'obres de JOAN BROSSA
FARSA ENTENENT QUE L'ESPECTADOR

HA DE TRANSPORTAR-SE AL CENTRE
MATEIX DE L'ESCENA.
Obra en un acle.
Persones, Vella, Elisenda Ribas, Home, Amoni Oliveres, Un
senyor, Joan Ponç; Un allre, Víclor Castells, Un o l t r e , J o u n
Brossa, Home I, Lluís Tarrau, Dona, Guillemina Montmany,
Home II, Csrles Boliera, Home III, senyor X, Grup ce senyors:
Garcia-Vilella, Josep Guinovarl, J.J. Tharrals, A n t o n i Ponç
i Enric Calders.
INTERMEDI D'OMBRES XINESES

per JOANYS Jr.
NOCTURNS ENCONTRES.
UN MILIONARI ES TROBA A R R A N DE LA MORT. U N A
FILLA SEVA, ÚNICA HEREUA, PRESA D'UN DESENGANY
AMORÓS EL CURA AMB SOL LICITUD. ELS PARENTS DEL
MORENT FAN TOT EL POSSIBLE PER DESHERETAR-LA I
NO DUBTEN DE RECÓRRER AL CRIM.
Obra en un acle.
Persones-. Home, Antoni Oliveres, Dona, Guülemina Mont-
many, Home I, Lluís Tarrau, Home II, Carles Bohera, V e l i n ,
Elisenda Ribas, Arlequí, Joan Closa, Cambrera, Mercè A l d e ï , .
Dissabte, 2 de juny de 1951, a les ]Q'30 nit, a l'antic

Dibuix de Join Ponç Teatre Olimpo, carrer de Mercaders, 38. Barcelona.
A page from the theatre programme for a production of two plays by Joan Brossa at
the Olimpo Theatre, Barcelona, 1951.
Catalonia. Brossa was also dissatisfied with the training of Catalan actors, and
has said that if his plays had been properly acted in the past, audiences would
not have found them as extravagant as they have done.13)
Although critical of the ethics of the commercial theatre, Brossa is certainly
no supporter of so-called social drama, considering that by its very nature it
is an ephemeral and extremely limiting genre. Brossa was labelled an obscure,
irrelevant writer by left-wing critics in the highly politicized atmosphere
which dominated certain circles in Spanish culture during the late 1960s and
early 1970s.14 Even Xavier Fàbregas, who later wrote perceptive analyses of
Brossa's work, initially fell into this category.15 Yet it would be foolish to
accuse Brossa of ignoring the social and political realities of his country, since
most of his plays are permeated by them to a greater or lesser degree. His atti-
tude towards Franco's Spain is highly critical, and he often ridicules its tradi-
tional values. What he does not do is to write in a social realist style. The
socio-political aspect is just one among many. This is well illustrated in Gold
and Salt, probably Brossa's best-known play.
Its three acts are unconnected at the superficial level of plot, but, as is com-
mon in Brossa, have a number of linking thematic and technical features. Act
1 seems to be set in modern times, and concerns a disconcertingly nonsensical
conversation between the First Man and the Second Man.16 Following the
appearance of the Third Man, it is discovered that the First Man has bought a
bar from the Second Man. The Third Man believes that this is a mistake, and
exposes the Second Man as a deceiver and a hypocrite. Act 2 is set in the past,
and opens with characters dressed in sixteenth-century style. Its interest lies
mainly in a philosophical conversation between Tomàs and Agustí about reli-
gion, provoked by the impending trial in Rome of Jeroni, a conjurer and com-
panion of theirs who has been accused of heresy. Act 3 concerns a seemingly
ordinary couple, Husband and Wife, whose activities are far from ordinary.
He is obsessed with hunting dragons, and has built two towers, complete with
lifts, to aid him in his task.
Historical perspective is an important element of Gold and Salt. In Act 1
the Second Man tries in vain to see parallels between Biblical episodes and
his own life, but the latter is generally banal and tends to undermine the for-
mer. This seems to be a criticism of the Church, a point that is reinforced
when the Second Man's hypocrisy is exposed. Christianity is implicitly linked
with invented mythology, and, in a more general sense, the distinction
between truth and myth is blurred. In Act 2 Agustí and Tomàs discuss the
question of religious certainty and faith. Tomàs (true to the tradition of
Thomas the Doubter) questions faith and defends the need for a plurality of
interpretations of the truth. He is faced with a dilemma: he has been asked by
Jeroni not to reveal to the Inquisition the secrets of his card tricks, but he
knows that if he does not, his friend will be condemned as a dangerous sor-
cerer who has links with the devil. Agustí counterbalances Tomàs in that he is
a man of action and not an intellectual, as exemplified in his words 'the com-
bat must be real! Philosophy exists only in your mind' (III, p. 110).
There is a parallel between Agustí and the Husband in Act 3, who is like-
wise a man of action. In Act 3 Brossa explores further the relevance of history
to the modern era. The hunting of a dragon is a primitive act belonging to a
past age, while the device he has chosen to hunt it relies on modern technol-
ogy. The contrast involves a familiar piece of Brossan juxtaposition, but,
taken together with the persecution of Jeroni in Act 2, contains an implicit
evocation of a modern-day witch-hunt, be it McCarthyite or Francoist.
Perspectivism is also present in the Husband's looking down on a landscape
through binoculars, and observing objects from his vantage-point.
In Gold and Salt, then, social and existential questions are given a medita-
tive depth, as is Brossa's passion for conjuring and magic. Typically, however,
the author does not neglect humour and ingenious technical slights of hand.
The conversation between the First Man and the Second Man in Act 1 con-
tains a banal but at the same time surrealistically connected series of com-
ments. The two men talk as they pick apples from a box and separate the good
ones from the bad:
FIRST MAN I've been combing my hair since I got up.
SECOND MAN That's exactly how women make themselves
beautiful.
FIRST MAN (wipes his brow) Phew, on with my work! (Pause.)
The female caretakers I've known are all the same . . . I make
mature women pronounce the word 'moustache'. They go red.
SECOND MAN And does that bring you good luck?
FIRST MAN I'm a nobody.
SECOND MAN And where will you go now?
FIRST MAN I don't know. To see the white foam of the sea
beating against the black rocks.
SECOND MAN I prefer to see the boats being rowed.
FIRST MAN That's a different seat.
SECOND MAN But I've never pitied scarecrows.
(Ill, p. 88)
As in the above example, much of the dialogue of Gold and Salt, like that
of most of Brossa's plays, is a blend of the banal and the poetic. Imagination
is a key element, and is linked to a sense of artistic liberation. Jeroni's card
tricks are more exciting and offer much broader horizons than conventional
Christianity; they suggest the subversive nature of popular culture. The
Husband in Act 3 is not only a man of action, but displays a vivid imagination
when he sees one rock through his binoculars as a cloaked dragon, and another
as his wife. The idea of the theatrical trick is reflected also in some of the sets,
such as the different coloured backcloths which follow each other in rapid
succession at the beginning of Act 2. Hence, although Gold and Salt
may appear to be located in a world of fantasy, issues to do with artistic and
spiritual freedom are clearly of vital importance in a dictatorship.
Around the early 1960s, Brossa's theatre took on a more overtly political
stance, in plays such as El dia del profeta (The Day of the Prophet) (1961), El
sol amb cara11 (1962) and El saltamarti (The Aunt Sally/ The Grasshopper)
(1962), but even these plays are not Naturalist in form. They contain the
incongruous dialogues and situations, the apparently disconnected scenes and
the varieties of linguistic register that are Brossa's hallmarks.
Class conflict is an essential part of The Aunt Sally, which consists of six
scenes. In Scene 1, two Gentlemen discuss the state of business and politics
in Catalonia and Spain. They are Catalan businessmen, who typify the more
prosperous end of the social spectrum. The other social extreme is represent-
ed by the three Norns of the Wagnerian opera The Twilight of the Gods which
the Gentlemen attend (Scene 2), by the Husband and Wife (Scenes 3 and 4)
and by the two Women (Scene 6). In Scene 1 there is a discussion of whether
the future of Catalan business lies with Madrid-based capitalism or within a
more politically open and liberal Europe. Another contentious issue, touched
on briefly in Scene 6, is whether the poor should keep silent and accept their
miserable lot as an exploited class or whether they should be more rebellious.
The play ends on an open-ended, even defiant note, with the words spoken by
the First Woman: 'I protest! I protest! I protest!' (IV, p. 159).
Two pillars of the Franco Establishment—the Church and the Armed
Forces—are satirized in The Aunt Sally. The former is ingeniously ridiculed
in the course of Scene 4, in which the Priest tries to make the Husband and
the Wife wear spectacles. The Husband is sceptical, commenting: 'I don't
need myths, I mean glasses' (IV, p. 144). The Wife, however, willingly
accepts the Priest's demands:
PRIEST Who is God?

WIFE He is the most perfect being, creator and Lord of all.
PRIEST Good. Where is God?
WIFE God is everywhere.
PRIEST Has He always existed?
WIFE He has always existed and exists.
PRIEST And will exist.
WIFE And will exist; yes.
PRIEST What is Heaven?
WIFE It is paradise, that is to say, happiness.
PRIEST And what has a slave to do?
WIFE Resign himself, because in obeying his master he obeys
God.
PRIEST Good. Now do you see how you have changed?
WIFE Oh, thank you! I'll have these spectacles. I'm sure of
one thing: I'm seeing everything clearly.
(IV, pp. 146-47)
The inane nature of the dialogue is not gratuitous, but underlines a view of the
Church as simultaneously repressive and ridiculous.
In Scene 5 soldiers march mechanically from left to right of the stage,
which, appropriately, has a khaki back curtain, to the sound of a typical
address by General Franco. The address is, needless to say, given in Castilian
Spanish, which is by implication an imperialist language. However, Brossa is
too subtle to devise a piece of simplistic pro-Catalan nationalist propaganda:
the two capitalists in Scene 1, concerned as they are exclusively with the
future of Catalan capitalism and thereby with their own pockets, are really no
better than the centralists associated with the Franco regime.
The political satire does not date Brossa's plays. Indeed, there are signs that
they are now better appreciated than when they were written, due to the
improved quality of the productions. A case in point is El sarau (The Party),
written in 1963, but not performed until the summer of 1992 at the Teatre
Poliorama, in the context of Barcelona's Olympic Arts Festival. One com-
mentator summed up the impact of Hermann Bonnin's production: 'With the
premiere of The Party [ . . . ] audiences and critics have recognized that Brossa
is viable onstage.'18 The Party is focused on two events, the great Barcelona
snowfall of 1962-63 (Act 1) and the death of the Catalan actor Enric Borràs
in 1957 (Act 2). Acts 1 and 3 are set in a working-class district of Barcelona
and Act 2 concerns the upper-middle class. The play has a Naturalist veneer
in the contemporary setting and the easily recognizable social types.
The contrast between the characters of Act 1, who suffer real privations, but
whose feelings are genuine and sometimes touchingly simple, and those of
Act 2, with their trivial preoccupations and reactionary attitudes, gives a sharp
social edge to the play. In Act 1 the Old Man is particularly critical of the local
authorities for their handling of the snow crisis and of the press for glossing
over the deficiencies of the authorities during such crises. By contrast, the atti-
tudes of some of the upper-middle class characters of Act 2 are reactionary, and
vehemently insulting towards immigrants and members of the working class.
Yet The Party is not a Naturalist play, since it contains an apparently dis-
jointed plot, and the juxtaposition of banal and sublime dialogue. This is most
noticeable in the discussion on the relative merits of various foreign cheeses
in Act 2, and in Act 3, when a clothes shop assistant dreaming out loud of
Greek mythology is cheated by a customer. The work is also underpinned by
a strong sense of theatricality. This is obvious in the Greek mythology recitation,
but the most interesting example occurs in Act 2 when news of Enric Borràs's
death is announced by the First Old Man. The characters are distraught, for
they saw in him not only a great declamatory actor, but one of the pillars of
the Catalan cultural Establishment. In a highly melodramatic scene, they
lament that not only Catalan theatre, but world theatre is now in mourning.
Their eulogy of the great Borràs is very different to the First Old Woman's
view on the carnival, expressed just before the announcement of Borràs's
death: 'Oh, the carnival is forbidden; thank God we now go straight into Lent'
(IV, p. 192). (This point is historically accurate, because the carnival was initially
prohibited in Franco's Spain.) The theatrical whole comprises a strikingly
original mixture of social criticism, speculation and parody, contextualized in
twentieth-century Catalan theatre and in the middle- and lower-class life of
Catalonia.
Brossa has always appreciated brevity in literature, preferring poetry and
drama to the novel.19 Although he has written a large number of plays, few of
even the three-act ones are very long. He has also written many short pieces
without dialogue, or quasi-happenings avant la lettre, most of which have
never been performed.20 They consist of 68 Accions Espectacle or Postteatre
(Spectacle Actions or Posttheatre), written between 1948 and 1962; a series
of 49 ballet scripts written between 1948 and 1954 and collected in Normes
de mascarada (Rules of the Masquerade); the Accions musicals (Musical
Actions), collected in 1983, but the result of Brossa's work in previous years
with the composer Mestres Quadreny, the pianist Carles Santos and the singer
Anna Ricci; the transformation monologues or fregolismes, named after
Fregoli, which consist of 30 works from 1965 and 1966;21 and 72 pieces writ-
ten between 1966 and 1967 entitled Strip-tease i teatre irregular (Striptease
and Irregular Theatre), which arose from Brossa's desire to explore the artis-
tic possibilities of this commercially debased entertainment which he had wit-
nessed during his visits to Paris.
These short texts were written throughout the Scenic Poetry period, and
range from the hermetic sketches collected in volume 1 of the Complete
Theatre to overt political statements. Many of the idiosyncratic features of the
full-length plays recur in the short pieces, but owing to their brevity and the
absence of dialogue, it is sometimes even more difficult to spot logical pat-
terns and connections. To an extent, the short pieces are compressed versions
of the full-length plays, rather in the manner of a painter's preliminary sketches.
The Spectacle Actions depend for their effect on audience participation: in
some, the audience moves through corridors and into rooms, while in others
the audience is not itinerant, but is invited to take part in the action. Frequently,
the actors have a joke at the spectators' expense, as in the fifty-fifth Action in
which the spectators are asked to hang a calendar on the wall at the end of the
piece. Once the sole actor (Man) has gone offstage, a member of the audience
carries out his request, but all the numbers of the calendar fall onto the floor.
In the fifth Action, two men pretend to throw over the audience water from a
bucket which turns out to be empty. A pierrot then hauls in through a window
a red paper star with a long tail, which he drags offstage but which, because
of its length, continues crossing the stage long after he has disappeared.
A common feature of the short pieces is the breaking of the classical norms
associated with a particular genre. Before the beginnning of Rules of the
Masquerade there is a quotation from the painter Juan Gris: 'Any work which
is destined to become a classic can have nothing in common with the classi-
cal works which have preceded it' (I, p. 451). The action of classical ballet is
interrupted when extraneous characters, sometimes wearing disguises, inter-
rupt its smooth progress. One piece is entitled La nit (Night):
The curtain opens. Complete darkness. One can just see how
one of the ballerinas makes an effort to light a candle on a
table, but someone blows out the match. After she has tried
again several times, the stage lights go up unexpectedly. The
other ballerina, who is now carrying a dog, screams when she
realizes that the person who was blowing is a tall character,

wearing a leotard and a red cape. The curtain shuts quickly.
(I, p. 476)
Disruption of convention through unlikely events and through the use of dis-
guise is also a characteristic of a number of the Musical Actions. In one sec-
tion of Suite bufa (Comic Suite), the pianist leaves the stage after playing a
few notes with great passion. The piano continues playing on its own, and
then a bald-headed moustachioed man enters from the left while putting on a
top hat. He picks up a suitcase and exits stage right. He then reappears after
the piano has finished playing the piece on its own, takes off his wig, glasses
and false nose, whereupon it is discovered that he is the pianist (VI, p. 295).
Here Brossa has used techniques which are more appropriate to popular enter-
tainment like the circus or music-hall to disrupt the seriousness of a classical
music concert and to raise questions of identity.
Disillusioned by a hostile reception and woefully few productions, Brossa
stopped writing his Scenic Poetry in the 1970s. Only in the 1980s did his theatre
begin to attract the sort of performances one might expect for the work of an
accomplished dramatist. But the process will be a long one: the majority of
Brossa's rich, complex, quirky texts still await full-scale productions.
Manuel de Pedrolo
Whereas Brossa sees himself as a poet with a passion for redefining theatre in
poetic terms, Manuel de Pedrolo (1918-1990) always stressed his own activity
as a novelist: 'I am not a dramatist', he said in the 1970s. 'I am a novelist who
happens to have written a few plays.'22 Any glance at the quantity of novels
Pedrolo published during his career confirms that this assertion is, in his own
words, 'an objective fact'.23 Yet, if Pedrolo's name is recognized outside Spain,
it is in connection with the plays he wrote in the late 1950s and early 1960s.24
There may be a kind of justice in this paradoxical situation. For, although he
later dedicated himself almost exclusively to experiments in narrative form,
the first substantial piece of literature Pedrolo remembers creating is a short
comic play he wrote with a friend. It was performed on only one occasion at
his school. The audience was so bewildered that nobody dared to clap.25
This initial reception established an ominous precedent for his mature
plays. Given such public inhibition, it is ironic that Pedrolo considered free-
dom to be the central theme of all his drama. He claimed in 1963 that man had
never been so shackled as in the preceding twenty-five years.26 The concept
was viewed philosophically as well as politically. Sartre and Camus are two
of the authors whose ideas have most influenced Pedrolo's writing.27 Besides
the general pressures of Francoism, Pedrolo had his own reasons to be
obsessed with freedom. He had continuous problems with the censors and his
scripts often ended up being performed years after they were written.28
Pedrolo's first surviving play, Els hereus de la cadira (The Heirs to the
Chair} serves as an example of such a delay. Written in 1954, it was premiered
in 1975, one month after Franco's death. The play stands in impertinent con-
trast to the standard drawing-room drama of the period. It is set in a public
lavatory and, throughout the dialogue, the audience can see men entering,
using the urinals, then making an exit. Against this background occurs a more
profound process of self-discovery. A shoeblack picks up a note dropped by
one of his clients. It is from Carme and explains the times when her husband
is away and she can be visited. The shoeblack identifies the author of the note
as his wife and, having described his chance discovery as an exceptional
occurrence, he begins to feel a different person. He gives up his job, and per-
sists in maintaining his new, independent identity, even after he has admitted
he is not sure whether or not his wife is being unfaithful. All the while criti-
cizing the conventionality of human existence, he leaves his wife, his job and,
just before handing over his chair to the lavatory attendant, defines the new
man he has become: 'A creator who is capable of everything. With him the
path to freedom begins.'29
The Heirs to the Chair is a concise one-act statement which succeeds
theatrically because of the comedy within the dialogue as well as the strange-
ness of the situation. La nostra mort de cada dia (Our Daily Death) (1956),
is rather more verbose, sprawls over four acts and develops in a repetitive
structure. Death, in the shape of an attractive, thirty-year-old man called M.,
comes to a house to take away Marina, despite her parents' protestations. In
the course of the seduction, a conclusion emerges about time. The Father
claims that days have gone by, but M. redefines the past: it is true death. Once
an event stops existing in the future, a minute and one hundred years can be
regarded as the same. To free yourself from time you give in to death.30
Occasionally in Our Daily Death there are glimpses of the makings of a
Symbolist drama. Cruma (1957), on the other hand, is the only one of his plays
Pedrolo terms 'absurdist'. He admitted that he could not have written it if he
had not read Beckett's Waiting for Godot.31 The title itself is an indication of
an absurdist stance. Cruma is the name of an Etruscan measure or measuring
instrument, now clearly useless for understanding the contemporary world.
The Resident and the Visitor try to measure the dimensions of a corridor.
Their activity is as much designed to pass the time of day as to achieve some
scientific purpose. In any case, their task is doomed because, as they soon
realize, their tape measures have no numbers on them. (Pedrolo used a simi-
lar kind of apparently ridiculous action in Sóc el defecte (The Flaw) (1959),
where characters go up and down stairs and ladders, revealing the relativity of
their positions and, in their verbal interaction, varying approaches to the
acquisition and value of knowledge.32)
The futile measuring exercise is not the only illogicality in Cruma. With the
intermittent presence of Nagaio, a Stranger and a Girl, we are soon thrown
into a confusion of names and identities. The Resident refuses to believe in
the existence of other characters. After the Stranger has seen the Girl pass by,
the following exchange occurs:
STRANGER [.. .] Hey, wait a minute! Who's that?
RESIDENT The same as the other one: nobody.33
Pedrolo explained that his concern in Cruma was to define authenticity start-
ing from Heidegger's premises. The Resident's authenticity leads to isolation
and a loss of contact with reality.34 In the closing moments, the Resident and
the Visitor admit that they are in the same situation as they were at the beginning.
Somebody knocks at the door. The curtain falls as the Resident goes to open
it. When Cruma was first performed, in the year it was written, audiences had
no idea whether they should laugh or not.35 Dramatic uncertainties about identity,
objective reality and the success of verbal communication had palpable conse-
quences for the witnesses to the events onstage.
There is also a good deal of ambiguous humour in Homes i No (Men and
No) (1957), although the visual imagery of the play sets a repressive tone
from the outset. Two groups of three characters are in prison cells on either
side of No, the gaoler. As No sleeps, the prisoners talk about their fate and a
discussion on power and suppression evolves. (The subtitle of the play is 'An
Investigation in Two Acts'.) No—the archetype of negation—is strong
because he possesses knowledge. He has always existed, but perhaps he owes
his existence to the bars of the prison. Without the prisoners he would be
nobody. After No has woken up during an attempt to drag him by one of his
feet towards an occupied cell, he claims that he is protecting the other char-
acters against themselves. The second act takes place years later, but No is
still reading the same newspaper. The younger generation of prisoners—Feda
and Some—become more inquisitive in their search for freedom. They discover
a precipice beyond the fourth, invisible wall (through which the audience
observes the action). Eventually, despite No's warning, Feda and Some tear
down the curtain at the back of their cells. Behind it are bars which imprison
not only the two families, but also No himself. Three silent men in black uniforms
are on the other side of the bars.
The message seems unquestioningly grim. If Pedrolo's play shares any-
thing besides its title with Elio Vittorini's novel Uomini e no (published in
1945), it is the definition of what it is to be a human being in a context where
extreme suffering is caused by one's fellow men. But there are signs that a
kind of progress has been achieved in the course of Men and No. Language is
a powerful tool. The characters constantly analyse their situation. As one says,
the bars remain where they are, but 'despite them we shall open a path to the
truth. Each word we speak brings us closer'.36 Pedrolo objected to accusations
that the play was pessimistic. After all, the children accomplish a kind of vic-
tory in that they break down a barrier. The fight should be continued, if not by
Feda and Some, then by their children.37
The discursive quality of Pedrolo's texts entails a logical analysis of repres-
sion and thus distances him from Beckett's poetic reflections. Another
instance of this process is Situació bis (Full Circle) (1958). For years a group
of characters has awaited the arrival of letters not addressed to them, but
placed twice daily by an anonymous dictatorial force in a giant wastepaper
basket. Like the characters in Men and No, they try to see how their situation
could be changed, and decide to rebel. Melo and Glada struggle with the two
men who deliver the letters. Glada is killed in her room and Melo is over-
powered. This violence provokes the group into killing the two men during
their next visit. By the third act, Melo and Pral have substituted the two men,
but they follow the same laws as their predecessors and have become just as
dictatorial. The conclusion is simple: a real revolution should transform struc-
tures, not merely substitute leaders. In the words of Orel, who has suffered
under the new regime, 'It's pointless to replace people when it's the system
itself which corrupts them.'38
Algú a V altre cap de peça (Somebody at the Other End of the Room) (1958)
reverses the perspective of repression.39 Here, the majority of characters seem
to be in control as they confront a harmless, virtually mute Old Woman who con-
stitutes a threat because of her indifference. After a time, the Old Woman starts
speaking and manipulating those around her. As the others discuss what they
can do with her, an anonymous Individual carries her off when they are not look-
ing. Again, those in power depend on their victims to maintain their status.
In other texts, the essence of power relationships is psychologically more

obscure. In Bones notícies de Sister (Good News from Sister) (1962), the char-
acters wait for a telephone call from a woman called Sister. But her identity
is nebulous. For some she wore dark glasses, for others she did not. Her hair
seems to have changed colour. There is also a city called Sister. The telephone
keeps ringing, but Sister is never on the line. In the closing seconds, one char-
acter says that Sister is dead and another suggests that maybe they had not
buried her deep enough.40
While most of Pedrolo's best-known plays contain a discussion with political
overtones, Darrera versió per ara (Last Version, for the Time Being) (1958)
conies close to an allegory of the Fall of Man.41 A large white sphere or ball
lies in one of Pedrolo's typically undecorated rooms, similar in their restric-
tive capacities to the enclosed spaces of Harold Pinter's early plays. A Man
and Woman attempt to change their contract with the Concierge who is also
the owner of the building. A Boy with a white ball enters. He seems to have a
more favourable contract and is not restricted to his room. Then a Bohemian
with a black ball encourages the couple to break free and take possession of their
ball. This they do, and their contract is thus invalidated: they can leave. Yet
this liberty is in itself a burden. The Man concludes that they have gained the
responsibility of freedom, the need to make decisions, and an eternal disquiet.
Tècnica de cambra (The Room) (1959) is another global allegory and
involves another landlady, only in this context she remains a voice offstage,
welcoming guests to stay in a room full of objects, such as a clock, an iron
and a packet of cigarettes. However, there are not enough objects to go round,
and a dictatorial relationship develops, with Belet in charge. When Belet is
eliminated, all the other characters are also called away by the voice of the
landlady. Having been attracted to each other, ambition and power, they make
their exit from life just as they entered. Moreover, little, if anything, can be
learnt from experience. Cleda expresses the overwhelming sentiment when
she claims it is impossible to know the validity of moral values. Indeed, one
can know nothing at all.42
L'ús de la matèria (The Use of Matter) (1963) marks a change of stylistic
direction for Pedrolo. There is yet another anonymous controlling power and
the inevitable process of waiting recurs, but the location of the play is more
precise and its tone closer to farce than existential tragicomedy. Employees in
an office are waiting for papers and files to sign. Their tasks are specialized,
but mindless. Some are assigned to crossing t's, others to writing one accent.
The stifling bureacracy is all-consuming—it envelops everybody—although
Pedrolo is careful to underline that it is a product of an idealized vision,

expressed by one character as: 'Everyone forming part of a communal enter-
prise, everyone understanding everyone else, everyone brother to everyone
else, real brothers just like you and me now . . ,'43 The actual results are chaotic
and fatal. (The play has justifiably been compared to Vaclav Havel's The
Memorandum [1965].44) To avoid keeping incomplete collections of papers,
the papers are destroyed, yet the employees have to retain two copies of each
of the documents destroyed. A typical victim of the bureaucracy is Mrs Greda
whose husband has died because she has had to wait two years for an 'extrac-
tion permit' to remove him from the bottom of a well.
In 1966 Pedrolo wrote a brief sketch about betrayal,45 but by the early
1970s he considered his dramatic experiments to have been negative because
they had reached only minority audiences. He thought his plays had a histori-
cal value, within their period, even if they were a 'great mistake'. It was
because of this self-assessment that Pedrolo stopped writing for the stage.46
These comments proved premature. In June 1973, Pedrolo wrote Aquesta nit
tanquem (Tonight We Are Closing), which developed the more open critical
stance initiated in The Use of Matter and, as the Pirandellian echo of the title
suggests, incorporated the semblance of improvisation.47 At the start, a group
of youths announce that a popular militia has taken over the theatre and that
the first truly free lecture in the military state is about to take place. Despite
interruptions and vociferous opposition from an official in the audience, the
youths act out 'authentic' scenes of repression—particularly related to censor-
ship—that have occurred during the regime. Behind the highly theatrical aes-
thetics, there is a sense of desperation in the text. The play ends provoking the
audience into resistance. A plea for freedom previously treated by abstract
allegories has become an overt call to arms. D'ara a demà (In the Space of a
Day) (1977) employs an equally clear style to deal with a specific topic: abor-
tion and the subordinate role of woman in society.48
The failure of Pedrolo's theatre to reach a wider audience is as much due to
the nature of the theatre industry in 1950s Catalonia as it is to the sometimes
abstract qualities of his plays. It takes time to grow accustomed to dramatic
tension derived, in Jordi Arbonès's words, from 'the confrontation of ideas
and not the clash of passions or feelings'.49 Any production has to highlight
the humour in Pedrolo's language as well as the inherent incongruity of the
situations. In Men and No, there is constant punning on No's name. The stac-
cato dialogue in Pell vella al fons del pou (Old Bit of Skin at the Bottom of the
Well) (1957) is underpinned by a deep-rooted, nervous fear, but at first interlaced
with a discussion about worms.50 Acompanyo qualsevol cos (I Accompany

Any Body) (1962) is a difficult play, yet its questions about time and identity
surface in exchanges which have light-hearted potential:
BORRA The last time we had a calendar was in the year 1950.
BOSNIVA It's '62 now.
NIL How do you know?
BOSNIVA In '60 it rained.
BORRA It rains every year.
NIL It does now.51
Such dialogue, when combined with a striking central image, makes Pedrolo's
own assessment of his works too harsh. Plays like The Heirs to the Chair, Cruma
and The Use of Matter have a value which is theatrical, not merely historical.
Llorenç Villalonga & Baltasar Porcel

Pedrolo is not the only Catalan novelist to have been drawn to the theatre.
Some of the most interesting experiments in avant-garde drama during
Francoism are by the Mallorcan novelists Llorenç Villalonga (1897-1980)
and Baltasar Porcel (1937-).
Villalonga began writing his texts called Desbarats (Pieces of Nonsense) in
the 1940s, with no view to full-scale performance, but rather to provide dia-
logues, probably intended for reading out loud in small groups. The Catalan
spoken in Pieces of Nonsense is a Mallorcan dialect so particular that even
modern Catalan editions of the plays contain explanatory glossaries. However,
such apparently untheatrical features do not take anything away from the
humour or the dramatic potential of several pieces, especially those centred
on Catalina, the Marchioness of Pax (or Pachs), an eccentric widow, known
more familiarly as Mumare (Ma, Mum or Mammy). In one scene, preparations
for a trip to the theatre lead to confusion over the booking of tickets and a discus-
sion on the morality of Zorrilla's play Don Juan Tenorio. In another, Mumare's
household is thrown into panic over the impending visit of the Spanish
Infanta. Labourers try to repair the fabric of the building and everybody is
plunged into darkness as the electricity fails. Finally, after all the fuss, the old
lady accompanying the visiting Infanta reveals (in Spanish, of course): 'What
the Infanta likes the most is that it's obvious you haven't made any special
preparations because of her.'52
Whereas this kind of comedy may seem crude, a more illogical humour
emerges when Mumare becomes the victim of a highway robbery, but actually
enjoys the experience, has her belongings returned, and suggests giving a tip
to the malefactors. Moreover, in all the dialogues, there is a sense of stage
space, a sharp awareness of the idiocy of everyday speech and a constant
interplay between Catalan and Spanish, usually at the expense of the latter.
Mumare initially insists on addressing a Spanish-speaking carpenter in
Mallorcan Catalan. The stage directions comment that the Infanta's Spanish is
'somewhat international, as in circuses' ,53 Inhabitants of the Spanish-speaking
mainland are not the only ones to suffer from Villalonga's wit. Members of
the Mallorcan middle and upper classes also come under attack, above all for
their ignorance of the harshness of social reality. In the Piece of Nonsense
entitled Viatge a Lisboa el 1945 (Trip to Lisbon in 1945), one character judges
all foreign cities according to the quality of the hotels she has stayed in. The
criticism often becomes implicitly political: many of the dialogues paint a far
from rosy picture of post-Civil War Spain, and thus constitute a kind of repudi-
ation of the author's previous, pro-Falangist activities during the conflict.54
Since he was born during the Civil War, Baltasar Porcel had no such past
to justify or reject. He situated himself on the left from the beginning and had
ambitions to be the Sean O'Casey of Catalonia.55 Although he has written
several Brechtian plays, notably Èxode (Exodus) (1962), Porcel's La simbomba
fosca (The Dark Zambomba) (1961) is closer to the Theatre of the Absurd.
Like Waiting for Godot, it is subtitled 'a tragicomedy' and has as little pro-
gressive dramatic action as Beckett's play. The guests of a boarding house, in
which everything is 'old, worn out and absurd'56 are perplexed by the death
of their old landlady. Among the varied characters are a travelling salesman,
a civil servant and a boxer who speaks a strange dialect and is trying to con-
struct a zambomba. As they discuss what they should do with the corpse,
metaphysical definitions develop in the midst of macabre desperation. A
retired schoolteacher suggests eating the landlady's body, while the salesman
is more worried about his own protection when he says: 'And when we've
buried her, where will we go and live?'57 The civil servant questions the pur-
pose of doing anything, because it all ends in death. Some scenes are enacted
as if they were part of a ballet and there are moments of unexplained silence.
No wonder one reviewer reported that the premiere production (in 1962) 'sur-
prised and irritated people'.58 Yet the same critic went on to comment that, if
the play had been presented as a translation of a non-Catalan work, it would
have been received more favourably. The avant-garde had arrived, but it was
having problems being accepted as a Catalan phenomenon.
Sergi Belbel
Sergi Belbel (1963-) has had no great problems being accepted either as an
avant-garde dramatist or as a Catalan writer, in spite of his Spanish-speaking
family background. Of all the writers included in this book, Belbel is unique
for his exclusive dedication to the theatre, and his independence from the
shadow of the Franco era. He is also being viewed as the saviour of Catalan
text-based drama, and most of his plays have been produced and published in
Spanish as well as Catalan. At the beginning of 1989, Belbel had two full-
scale productions running in Barcelona and a series of activities based on his
work was organized at the Institut del Teatre. The Catalan daily Avui summed
up the impact caused by the twenty-five-year old dramatist with an article
entitled 'Catalan Theatre is Called Sergi Belbel'.59
Belbel first came to public attention four years earlier when he won the
Marqués de Bradomín Prize for a play that he had begun writing in Catalan,
but finally presented in a Spanish version.60 The abbreviations in A. G./V. W.,
Calidoscopis i fars d'avui (A. G./V. W., Kaleidoscopes and Lighthouses of
Today) (1985) initially appear to refer to the main characters of the first two
acts—Andre Gide and Virginia Woolf. They are both physically linked by
elastic to the people most important to them, and, in biographical fragments,
the text portrays Gide's childhood (in Part One) and Woolf's unsuccessful
struggles with mental pressure (in Part Two). The third section is called
'Today' and places a contemporary couple, Alfred Geis and Verònica White,
in a confrontation which is witty and sarcastic, yet at times refers overtly to
images of the previous two acts.
Although the play contains some wooden dialogue, it establishes what have
become Belbel's thematic and stylistic strengths: a concentration on personal
relationships, a treatment of sexuality (often considered 'deviant') and the use
of monologues and repeated phrases sometimes uttered anonymously. The
play also demonstrates a precise notion of the potential of movement onstage
and an ability to unite different acts through tone and theme rather than
through the development of the same characters. Furthermore, even in this
first play, Belbel had started to dissect language as if he were constantly con-
scious of its potential for ambiguity. (He subsequently explained that, since it
was his mother tongue, he had never really questioned Spanish. Catalan, on
the other hand, was a language he felt he could manipulate, because he was
more distant from it.61) While these traits acquire a personal stamp in Belbel's
work, they also coincide with the nature of much non-Spanish drama for
which he has an acknowledged admiration. He has directed his own translations
of Hamletmachine and Quartet by Heiner Muller and Georges Perec's

L'Augmentation, and has also translated plays by Bernard-Marie Koltès and
Samuel Beckett.
The play most obviously related to A. G./V. W. is Elsa Schneider (1987),
both because of its structure and its biographical features. Yet Elsa Schneider
is a more concentrated, more engaging piece of theatre, despite the fact that it
consists of three monologues. In the first, based on Arthur Schnitzler's story
Fràulein Else, a nineteen-year old girl (Elsa) recounts how she allowed her-
self to be seduced in order to help her father repay his debts. The second
relates the tragic private life of the film star Romy Schneider. In the 'Epilogue',
an actress playing 'Elsa Schneider' appears. Having expressed uncertainty
about how to deal with her own role, she consumes a glass of champagne, col-
lapses melodramatically, but then gets up demanding that the lights be
switched off.
Apart from the intrinsic interest of the narratives within the first two sec-
tions and the anti-narrative of the third part, Belbel succeeds in theatricalizing
his monologues by creating an intimate link with the audience. From the first
few seconds we are staring at Elsa like voyeurs, as she takes a glimpse at the
audience and wonders why two young men are greeting her. There are recorded
sounds of clapping as one of Romy Schneider's films comes to an end. In
another scene, she looks into the auditorium and we become photographers,
keen to exploit the visual aspect of her mourning her dead husband. The raison
d'etre of Elsa Schneider is apparently to please the audience, to introduce the
actresses who have played the preceding two roles and to end the play. But the
real unity of the play is achieved through subtler means. Objects and images
echo each other and implicitly compare situations and emotions. Elsa repeat-
edly says 'the air seems like champagne'. Romy Schneider alludes to success
in terms of champagne. And at first, Elsa Schneider asks what the symbol
means: 'why am I holding this glass of champagne? should I be drinking a
toast? to what? who to?'62 Similarly, a chair appears in all three sections and
is spotlit in the final moment of the play.
That Belbel has a mission to push actors to their limits is plain from all his
work. In another monologue, La nit del cigne (L'impossible silenci) (The
Night of the Swan [The Impossible Silence}) (1986), an actor eventually performs
a sketch by Chekhov. But before that, he begins in the auditorium and asks
how he should start his performance. Later he takes a member of the audience
to be his former lover and talks to her.63 This tendency to treat the audience
as ironic, intelligent onlookers or participants has led some to classify
Belbel's plays as somewhat self-indulgent. In the words of Eduardo Galàn:

'His commitment is not to the audience, but to himself, to his project of
theatrical creation, which, for the moment, refuses to make any concession to
audiences.'64
What might be seen in traditional terms as Belbel's most anti-theatrical
play to date is also, of all his texts, the one which places the most pressure on
his actors. En companyia d'abisme (Deep Down) was originally written in
1988 as part of a trilogy, but stands out as a self-contained text, and has been
performed successfully on its own. Located in 'an undefined, totally bare
zone in the abyss', two men discuss the reasons for and nature of their sup-
posedly haphazard meeting. If the artist Paul Klee talked of 'taking the line
for a walk', Belbel's dialogue is the closest thing to it in dramatic terms. The
opening exhanges are like artistic doodling, executed without any apparent
awareness of the overall effect:
YOUNGER MAN Meeting like this, unexpectedly, it's . ..
MAN Unexpectedly?
YOUNGER MAN Yes.
MAN Ah, I see.
YOUNGER MAN Sorry?
MAN No, it's nothing. But, I wouldn't have chosen that par-
ticular word.
YOUNGER MAN Which word?
MAN Unexpectedly.
YOUNGER MAN Unexpectedly?
MAN Yes.
YOUNGER MAN Ah, I see.
MAN Go on.
YOUNGER MAN Go on? With what?
MAN You were saying: 'Meeting .. . like this, unexpected-
ly, . . . it's ...' Go on.65
Although such subject matter seems vacuous, Deep Down soon develops
into a conflict in which words become instruments of torture by their very
articulation. Belbel's punctuation plays havoc with normal sentence structure.
Questions (together with question marks) occur within phrases, as do paren-
theses which sometimes appear to replace stage directions as indications of
changes in tone. Amidst repetitive, extended sentences, the actors have to find
new signals for expression and breathing. The pressure is also physical. The
two men remain totally immobile apart from six, isolated small movements
(three by each character) which inflict enormous pain on the character who
does not move, even though there is no body contact between the two.
Another kind of pain is transmitted to the audience through sympathy for the
actors' plight. (At one point, the Younger Man stays with his arms at chest
level for an excruciatingly long time.) Thus, the almost total immobility of the
play becomes highly histrionic. The relationship between the two characters
is never wholly clarified. (The Younger Man ends the play by saying 'I'd been
waiting for you for so long, deep down'.) However, the joking, cruel, mysteri-
ous qualities of their interaction are what give Deep Down its impact.
A sense of mystery also pervades Dins la seva memòria (Within His
Memory) (1987), in which a character called simply 'He' relives and medi-
tates on the guilt he feels for the death of his twin brother. Accompanied by
three internal voices which alternate between the fragmented narration of
events and the performance of scenes from the past, He participates as much
by listening to evocations (perhaps simply the product of his own memory) as
by speaking his own words. The dialogue is once more repetitive and poetic.
Yet Belbel adds another stylistic peculiarity. Sentences are often divided
between the three voices (1, 2, 3). An entire scene—entitled 'First
Parenthesis'—consists merely of the following:
1 You will remember
2 as well
3 that laughter of his,
1 that superficial, abnormal, outlandish laughter.
2 From now on
1 you will hate
3 above all else
2 that laughter of his,
1 that superficial, abnormal, outlandish laughter.66
Even if the tone in Within His Memory is sombre, the style of presentation
is experimental and consciously indirect. It is as though Belbel were continu-
ally playing with form. In contrast to many dramatists from preceding genera-
tions, locked into a system of censorship, Belbel has no qualms about admitting
his ludic approach to theatre: 'I think I want to play and, why shouldn't I if
I'm given the chance?'67 Farce is therefore understandably attractive territory
although, as is always the case with Belbel, it is not just the characters that are
manipulated and mocked, but the genre itself. Tàlem (The Marriage Bed)
(1989) puts bedroom farce into a post-modernist context. One couple tries to
make another couple sleep in a big bed which dominates the stage. Belbel has
revealed how the nucleus for the play came from one scene, and that he ended
up constructing other scenes around it.68 But the plot (such as it is) is not
straightforward: the thirty-eight scenes alternate between advancing the
action and taking it back in time. What is more, all the scenes are played twice
and alter in meaning according to the context in which they are performed.
Nerves, circumstance and incompatibility prevent the bed from being used,
but along the way we watch a striptease, witness masturbation and hear
'Strangers in the Night' (in English) and a weird Catalan version of 'My Way'.
While such fun is removed from a committed stance in relation to social
reality, in Carícies (Caresses) (1991) Belbel took another attitude. Already
translated into Portuguese, German and French, Caresses is a Catalan drama
for the 1990s—violent, sexual, perverse and unequivocally modern. Structured
on Arthur Schnitzler's La Ronde, each of the 'ten scenes and an epilogue'
brings a pair of characters together. The following scene includes one of the
characters of the previous episode. This technique engages the audience's
attention, for the ties between the two characters are at first unclear. Seeing
Miquel Bonet, Pere Arquillué, Anna Güell and Emma Vilarassau in Sergi Belbel's
Tàlem (The Marriage Bed}, at the Romea Theatre, Barcelona, 1990.
one of them in a different light in the subsequent scene provides another per-
spective. The first encounter of the play sets the tone for the reciprocal aggres-
sion of the rest of the text. A young man tells a young woman that he has the
feeling that it is as if they no longer have anything to say to each other. She
claims the contrary. Then he starts hitting her. She asks what he wants for din-
ner and, while she describes the proposed salad, knees him in the groin and
then kicks him in the face. Following his gasps of pain, she asks: 'Maybe you
want to tell me something?' He utters a strangled 'Mmm . . . yes.. .' She then
retorts: 'You see? You see how you've still got something to say to me?'69
None of the scenes involves quite this extent of black humour, but all of them
present human relationships as problematic and confused. There is a constant
conflict between generations. A daughter tells her mother that she should have
aborted. This may sound cruel, but in the next scene, the mother tells an old
woman that she hated her 'disgusting' daughter, because she prevented her
from dancing. Everybody in the play seems alienated and alone, whether it is
through sexual infidelity or poverty. At one moment, an old tramp looking for
food in a rubbish container protests to a little boy who calls him an animal: 'I
am a man I am a man I am a man.' These emotional states are set against a
background of drugs, sex and the coarsest aspects of popular culture. The
same little boy—in a street Catalan never heard before on the stage—talks of
pop groups called Social Shit, Dirty Sheets and Fucking My Mother. One
scene culminates in fellatio.70 Although these elements could categorize
Caresses as a play designed merely to shock audiences, Belbel is too young
to be thoughtlessly taking advantage of the breath of freedom which occurred
immediately after the death of Franco when all sorts of excesses (including
live bestiality) took place in Barcelona. He is instead painting a picture of
contemporary society and indicating ways of portraying it in personal terms.
It would not be totally accurate to claim that nobody has been offended by
Belbel's work, but, as he is being written into the literary history of Catalonia,71
one of the striking phenomena related to his drama is the high level of Catalan
theatre criticism it has provoked. Nothing could be more distant from the
blindly abusive tirades written by José Maria Junyent against Joan Brossa's
plays. Furthermore, there is a perception among many that Belbel is at the
forefront of a Catalan dramatic style which characterizes Benet i Jornet's most
recent work and that of Joan Casas.72 At last, Catalan avant-garde drama can
be recognized on its own terms, as an often innovative contribution to
European theatre.
Notes
1. Only the critic Julio Coll made a consistent effort to understand Brossa's early theatre.
See Enric Gallén, El teatre a la ciutat de Barcelona durant el règim franquista
(1939-1954), Monografies de Teatre, 19 (Barcelona: Institut del Teatre/Edicions 62,
1985), pp. 119-21.
2. Jordi Coca, Joan Brossa o el pedestal són les sabates, CoHeció Llibre de Butxaca,
52 (Barcelona: Editorial Pòrtic, 1971), p. 114.
3. See Lourdes Cirlot, El grupo 'Dau al Set', Cuadernos de Arte Càtedra, 18
(Madrid: Ediciones Càtedra, 1986).
4. In the programme notes to the 1961 performance of Gold and Salt at the Palau de
la Música Catalana.
5. See Frederic Roda, '14 Preguntes a Joan Brossa', Serra d'Or, 4, no. 12 (December
1962), 54-55 (p. 54).
6. Jordi Coca, Joan Brossa o el pedestal són les sabates, p. 79
7. Jordi Coca argues that throughout his life Brossa has been discovering the wonder
of the quotidian ('Sis notes', in Estudiós Escénicos, 16 [December 1972], 49-54 [p. 52]).
8. A recent edition of selections from Poesia rasa is published in Els Llibres de
l'Escorpí: Poesia/ Sèrie Gran, 3 & 5, 2 vols (Barcelona: Edicions 62, 1990-91). For
general introductions in English to all aspects of Brossa's work, see the essays by
Glòria Bordons, 'Joan Brossa, Constant Experiment and Surprise', Catalonia: Culture,
no. 28 (March 1992), 13-15 and 'Joan Brossa and the Avant-garde Tradition', Catalan
Writing, no. 10 (May 1993), 36-39; Pilar Parcerisas, 'Joan Brossa, Poet of the
Imagination', Catalonia: Culture, no. 28 (March 1992), 16-17; and the essays in Joan
Brossa, Words are Things: Poems, Objects and Installations, Exhibition Catalogue
(London: Riverside Studios, 1992). The most detailed analysis of Brossa's writing is
Glòria Bordons, Introducció a la poesia de Joan Brossa, Llibres a l'Abast, 235
(Barcelona: Edicions 62, 1988).
9. See David George, 'Joan Brossa and the commedia dell'arte', in Anales de la
Literatura Espanola Contemporànea, 20, no. 3 (1995) (forthcoming).
10. Jordi Coca, Joan Brossa o el pedestal són les sabates, p. 69.
11. Quoted in Maite Ricart, 'Joan Brossa: La màgia del transformismo', RS, no. 6 (Winter
1991), 48-51 (p. 51).
12. Joan Brossa, El sabater, in Poesia escènica, 6 vols (Barcelona: Edicions 62,
1973-83), II (1975), 202. All quotations from Brossa's plays are taken from the appro-
priate volume of Poesia escènica, and the corresponding volume and page numbers
are given in the main text.
13. See Antoni Bartomeus, Els autors de teatre català: Testimoni d'una marginació,
La Mata de Jonc, 6 (Barcelona: Curial, 1976), p. 92.
14. See Àngel Carmona, 'El meu Joan Brossa' and Frederic Roda, 'El meu muntatge
d'Or z sal', both in Estudiós Escénicos, 16 (December 1972), 55-57 (p. 55) and 58-63
(p. 58).
\ 5. See, for example, his review of El rellotger (The Watchmaker) and Collar de cranis
(Skull Chain) in Serra d'Or, 9, no. 11 (15 November 1967), 83, and his review of
Concert irregular in Serra d'Or, 10, no. 11 (15 November 1968), 107.
16. In Gold and Salt, as in other Brossa plays, even characters who have such generic
names as First Man in the cast list are revealed to have proper names when they speak
to each other.
17. Literally translated this means Sun with Face, but the title recalls the Falangist
anthem Cara al Sol.
18. Jordi Coca, 'Brossa', El Observador, 4 October 1992, p. 16.
19. See the interview with Maite Ricart, 'Soy un creador de estrategias', RS, no. 6 (Winter
1991),'52-58(p. 58).
20. See John London, 'The Theatrical Poetry of Joan Brossa', in Joan Brossa, Words
are Things: Poems, Objects and Installations, pp. 20-23 (p. 22).
21. One actor has to play all the roles in the text. Consequently, swift and frequent
costume changes are required.
22. Bartomeus, pp. 220-21.
23. Interview with John London, Barcelona, 14 April 1988.
24. His fame abroad has largely been due to the writings of Martin Esslin and George
Wellwarth. See Martin Esslin, The Theatre of the Absurd, 3rd edn (Harmondsworth:
Penguin Books, 1980), pp. 281-85 and the following three items by George E.
Wellwarth, 'Manuel de Pedrolo and Spanish Absurdism', Books Abroad, 46, no. 3
(Summer 1972), 380-87; Spanish Underground Drama (University Park: The Pennsyl-
vania State University Press, 1972), pp. 139^7; Modern Drama and the Death of God
(Madison: The University of Wisconsin Press, 1986), pp. 147-52. See also the mis-
leading reference in Wesley Barnes, The Philosophy and Literature of Existentialism
(Woodbury, NY: Barren's Educational Series, 1968), pp. 135-37.
25. See Frederic Roda, '18 preguntes a Manuel de Pedrolo', Serra d'Or, 5, no. 1
(January 1963), 52-54 (p. 52).
26. See Bartomeus, p. 224; Manuel de Pedrolo, Els elefants són contagiosos: Articles
(1962-1972), Llibres a l'Abast, 116 (Barcelona: Edicions 62, 1974), p. 35.
27. See Jordi Arbonès, Pedrolo contra els límits, Col·lecció la Mirada (Barcelona:
Ayrna, 1980), pp. 50-52, 103-04; Jaume Martí-Olivella, 'Paral·lels evolutius a l'obra
de Sartre, Camus i Pedrolo', in Estudis de llengua, literatura i cultura catalanes: Actes
del primer col·loqui d'estudis catalans a Nord-Amèrica, ed. by Albert Porqueras-
Mayo, Spurgeon Baldwin and Jaume Martí-Olivella (Barcelona: Publicacions de
l'Abadia de Montserrat, 1979), pp. 267-80. Pedrolo translated an anthology of Sartre's
plays. See Jean-Paul Sartre, Les mosques. A porta tancada. La p. . . respectuosa.
Morts sense sepultura. Les mans brutes. Les troianes, trans, by Manuel de Pedrolo,
Quaderns de Teatre, 21 (Barcelona: Aymà, 1968).
28. See Manuel L. Abellàn, 'Problemas historiogràficos en el estudio de la censura literària
del ultimo medio siglo', Revista Canadiense de Estudiós Hispdnicos, 13 (1989),
319-29 (p. 326); Antonio Beneyto, Censura y política en los escritores espanoles,
Colección Espana: Punto y Aparte (Barcelona: Euros, 1975), pp. 255-61. For the most
detailed list of Pedrolo's plays, with information about premieres and publication, see
Josep A. Vidal, 'Pedrolo, dramaturg en actiu', Taula de Canvi, 16 (July-August 1979),
87-103 (p. 103).
29. Manuel de Pedrolo, Els hereus de la cadira, Catalunya Teatral, 2.a època, 166
(Barcelona: Millà, 1980), p. 32.
30. Manuel de Pedrolo, La nostra mort de cada dia, Biblioteca Raixa, 33 (Palma de
Mallorca: Moll, 1958), pp. 95-98.
31. See Jordi Coca, Pedrolo, perillós?: Converses amb Manuel de Pedrolo, Pinya de
Rosa, 13 (Barcelona: Dopesa, 1973), p. 75; Manuel de Pedrolo, Si em pregunten,
responc (Barcelona: Edicions Proa, 1974), p. 213.
32. Manuel de Pedrolo, Sóc el defecte. Pell vella al fons del pou. Algú a l'altre cap de
peça, Biblioteca Raixa, 101 (Palma de Mallorca: Moll, 1975); The Flaw, trans, by
George E. Wellwarth, Modern International Drama, 23, no. 2 (Spring 1990), 5^tO.
33. Manuel de Pedrolo, Cruma, Catalunya Teatral, 2.a època, 150 (Barcelona: Millà,
1979), p. 25; trans, by George E. Wellwarth, in 3 Catalan Dramatists, ed. by George
E. Wellwarth (Montreal: Engendra Press, 1976), p. 26.
34. See Coca, Pedrolo, perillós?, p. 74.
35. Information from Jordi Sarsanedas (director of first production of Cruma), in
interview with John London, Oxford, 28 February 1990.
36. Manuel de Pedrolo, Homes i No, Quaderns de Teatre A.D.B., 2 (Barcelona:
A.D.B., 1960), p. 13; trans, by Herbert Gilliland, Modern International Drama, 10 ,
no. 1 (Fall 1977), 39-74 (p. 55).
37. See Bartomeus, p. 225; Amando C. Isasi Angulo, Dialogos del teatro espanol de
la postguerra, Colección Fuentetaja, 1 (Madrid: Ayuso, 1974), p. 202.
38. Manuel de Pedrolo, Situació bis, Catalunya Teatral, 2.a època, 133 (Barcelona:
Millà, 1976), p. 49; trans, by Brian Steel, in 3 Catalan Dramatists, ed. by George E.
Wellwarth, p. 137.
39. See Pedrolo, Sóc el defecte. Pell vella al fons del pou. Algú a V altre cap de peça.
40. See Manuel de Pedrolo, Bones notícies de Sister, Catalunya Teatral, 2.a època,
152 (Barcelona: Millà, 1979); trans, by Albert M. Forcadas and Shelley Quinn,
Modern International Drama, 25, no. 2 (Spring 1992), 5-24.
41. For an interpretation along these lines, see José Monleón, 'Manuel de Pedrolo', in
Manuel de Pedrolo, Hombres y No, trans, by José Corredor Matheos, Colección Voz
Imagen, 10 (Barcelona: Ayrna, 1966), pp. 13-32 (pp. 28-30). For the text of the play
see Manuel de Pedrolo, Darrera versió, per ara, Els Llibres de l'Escorpí: Teatre/El
Galliner, 8, 2nd edn (Barcelona: Edicions 62, 1980).
42. See Manuel de Pedrolo, Tècnica de cambra, Biblioteca Raixa, 67 (Palma de
Mallorca: Moll, 1964), pp. 113-14; trans, by Jill R. Webster, in 3 Catalan Dramatists,
ed. by George E. Wellwarth, p. 89.
43. Manuel de Pedrolo, L'ús de la matèria, Els Llibres de l'Escorpí: Teatre/El

Galliner, 35, 2nd edn (Barcelona: Edicions 62, 1983), p. 43; trans, by George E.
Wellwarth, Modern International Drama, 20, no. 1 (Fall 1986), 49-103 (p. 68).
44. See Wellwarth, Spanish Underground Drama, p. 146.
45. Manuel de Pedrolo, La sentència, Institut del Teatre, Barcelona, 896-N, C. mec.
no. 3-51 (typescript).
46. See Baltasar Porcel, 'Manuel de Pedrolo: Multiforme i patètic', Serra d'Or, 12,
no. 124 (15 January 1970), 23-27 (p. 25); Pedrolo, Si em pregunten, responc, p. 172.
47. Pirandello's Tonight We Improvise (1929) was performed in the Romea in
Barcelona in 1967.
48. For the texts of these plays, see Manuel de Pedrolo, Aquesta nit tanquem, Els
Llibres de l'Escorpí: Teatre/El Galliner, 46, 2nd edn (Barcelona: Edicions 62, 1982);
Manuel de Pedrolo, D'ara a demà, Catalunya Teatral, 2.a època, 184 (Barcelona:
Millà, 1982).
49. Jordi Arbonès, Teatre català de posguerra, Llibre de Butxaca, 75 (Barcelona:
Pòrtic, 1973), p. 90.
50. See Pedrolo, Sóc el defecte. Pell vella al fons del pou. Algú a l'altre cap de peça,
pp. 12-16.
51. Manuel de Pedrolo, Acompanyo qualsevol cos, Catalunya Teatral, 2.a època, 151
(Barcelona: Millà, 1979), p. 19.
52. Llorenç Villalonga, La marquesa de Pax i altres Disbarats, 2nd edn, El Pi de les
Tres Branques, 8 (Barcelona: Club Editor, 1975), p. 57.
53. Villalonga, p. 53.
54. For Villalonga's account of these activities, see Beneyto, p. 58.
55. Bartomeus, p. 157.
56. Baltasar Porcel, Teatre, Col·lecció Europa de Literatura, 2 (Palma de Mallorca:
Daedalus, 1965), p. 72.
57. Porcel, p. 80.
58. Joan Triadu, Review of La simbomba fosca, Serra d'Or, 4, no. 5 (May 1962),
50-51 (p. 50).
59. Anon., 'El teatre català es diu Sergi Belbel', Avui, 4 January 1989, p. 34.
60. The Spanish version is published as A. G./V. W., Caleidoscopios y faros de hoy,
Nuevo Teatro Espanol, 5 (Madrid: Centro Nacional de Nuevas Tendencias Escénicas,
1986). The Catalan text was subsequently published with a more explanatory title:
André Gide/Virgínia Woolf: calidoscopis i fars d'avui, Catalunya Teatral, 2.a època,
282 (Barcelona: Millà, 1994).
61. SeePepBlay, 'Entrevista: Sergi Belbel', Avui Diumenge, 24 February 1991, pp. 6-7
(p. 6).
62. Sergi Belbel, Elsa Schneider, Biblioteca Teatral, 62 (Barcelona: Institut del Teatre
de la Diputació de Barcelona, 1988), pp. 25, 28, 57, 80.
63. Sergi Belbel, La nit del cigne (L'impossible silenci), Els Marges, no. 38 (Sept-
ember 1987), 61-79.
64. Eduardo Galàn, 'Sergi Belbel: Artifice de la renovación escènica', Primer Acto,
no. 233 (March-April 1990), 82-88 (p. 84).
65. Sergi Belbel, En companyia d'abisme i altres obres, Els Llibres de l'Escorpí:
Teatre/El Galliner, 116 (Barcelona: Edicions 62, 1990), p. 25; trans, by John London,
Modern International Drama, 26, no. 2 (Spring 1993), 5-24 (p. 7).
66. Sergi Belbel, Dins la seva memòria, Els Llibres de l'Escorpí: Teatre/El Galliner, 104
(Barcelona: Edicions 62, 1988), p. 35.
67. Pep Blay, p. 6.
68. For an insight into Belbel's working methods, see Sergi Belbel, 'Tàlem: Dossier',
in Sergi Belbel, Tàlem, Teatre Català Contemporani: Els Textos del Centre Dramàtic,
1 (Barcelona: Editorial Lumen/Departament de Cultura de la Generalitat de Catalunya,
1992), pp. 115-26.
69. Sergi Belbel, Carícies, Els Llibres de l'Escorpí: Teatre/El Galliner, 127 (Barce-
lona: Edicions 62, 1992), p. 20.
70. Belbel, Carícies, pp. 26, 38, 39^0, 64.
71. See Joan Orja, Farenheit 212: Una aproximació a la literatura catalana recent
(Barcelona: Edicions de la Magrana, 1989), pp. 103-06.
72. A public awareness of these affinities was voiced following the premiere of
Casas's Nus (Naked}. See Joan de Sagarra, Review of Nus, El País, 4 February 1993,
p. 33. For the text of Casas's work, see Joan Casas, Nus, Biblioteca Teatral, 75
(Barcelona: Institut del Teatre de la Diputació de Barcelona, 1991). The title simulta-
neously means 'naked' (as an adjective in the plural form) and 'knot, bond, core or
crux (especially of a play)' (as a noun in the singular).
Chapter 4
Performance Groups in Catalonia
Mercè Saumell
I: An Overview
From 1960 onwards, a succession of performance groups evolved in Catalonia.
This theatrical phenomenon may be understood both as a reaction to the spe-
cific political situation of late Francoism, as well as part of a wider interna-
tional aesthetic context which revolutionized European and North-American
theatre in the 1960s and 1970s.
The Independent Theatre (1960-1980)

The so-called Independent Theatre arose as a reaction against the conformist
theatre of the period. It began as an amalgam of university, local and amateur
theatre and, although it was not a homogeneous theatrical current, the groups
which constituted the Independent Theatre had in common an anti-Establishment,
and, above all, anti-Francoist ideology. For the purposes of this study, the
groups with a predominantly visual style are the most relevant. Outside
Catalonia, examples of such groups are: TEI, Los Goliardos and Tàbano (in
Madrid); Akelarre, Bekereke and Geroa (in the Basque Country); and La
Cuadra de Sevilla, Esperpento and Teatro Lebrijano (in Andalusia). In Catalonia,
Els Joglars, Comediants and Dagoll-Dagom are well-known examples.
The importance of the Independent Theatre in the last years of Francoism
and during the transition to democracy was ultimately to create a different kind
of professional theatre. The groups which emerged during these years did not
reproduce the hierarchy of commercial companies, but initiated a new system
of management in which the actors had to make the sets and costumes. (The
precarious economic standing of the groups determined, to a large extent, the
aesthetic result of their projects.) The Independent Theatre formed part of an
alternative culture while at the same time attempting to create a new audience
from a 'non-audience'. A new touring circuit was developed on 'stages' that
commercial companies never reached: universities, factories, village halls and
squares. Other small-scale venues where the groups performed became equiv-
alent to the 'fringe' or 'off' circuits in other countries. Outside official theatres,
particularly among university students, a strong sentiment was nurtured
against bourgeois theatre. Determining (clandestine) influences were thinkers
like Antonio Gramsci, Herbert Marcuse and Wilhelm Reich.1
Although much cultural opposition within Spain was traumatized by the
repression it had experienced, in Catalonia a nationalist (Catalan) consciousness
was being affirmed as the 1960s progressed. An obvious example is the Nova
Cançó (New Song), developed by singers like Joan Manuel Serrat, Lluís Llach
and Raimon who sang in Catalan, thus challenging Francoist censorship which
banned the use of Catalan in certain public contexts. Indeed, there exists a
direct connection between the Nova Cançó and Els Joglars for, at one time,
they both used to perform in the same venue—La Cova del Drac in Barcelona.
Els Joglars, founded in 1962, are the oldest Catalan performance group.
Their appearance followed the international success of Marcel Marceau's
mime shows. Mime could avoid Francoist censorship by being classified
within variety theatre or music-hall, genres in which the censor was merely
concerned with the propriety of the costumes. Els Joglars also incorporated
popular culture into their shows. Their first productions therefore had elements
of farce, revue and television serials. It is a postmodern style which includes
self-reference and political, irreverential aspects, all in accordance with the
provocative personality of Albert Boadella, the director of the company since
1966. The objective of the group was to entertain, but at the same time criti-
cize the most absurd aspects of Francoist society, as well as asserting Catalan
national identity.
If Els Joglars emerged unscathed from Francoism, having gained a reputa-
tion for their anti-Francoism and innovative style, their political problems
came after Franco's death in 1975. In 1977, when censorship was apparently
over, Els Joglars decided to perform a satire against torture. The show, enti-
tled La torna (Left Overs)2 was a homage to Salvador Puig Antich, the anar-
chist executed by the Francoist government in 1974. The production caused
the imprisonment of some members of the group (including Albert Boadella)
and the enforced exile of others. These events generated a mobilization within
the theatrical profession all over Spain. (Since 1975, the Independent Theatre
had insistently demanded the dismantling of censorship and access to the sub-
sidies granted by the state to conventional, text-based theatre.)
Following a period of intense activity at the end of the 1970s, Independent
Theatre groups felt the need to discuss their aims after the end of the dictatorship.
Performance Groups in Catalonia 105
The discussions at El Escorial in 1980 marked the official dissolution of the

Spanish Independent Theatre, to which the Catalan groups Els Joglars,
Comediants and Dagoll-Dagom were attached. Yet by 1979, a new generation
of groups had arisen in Catalonia. Sèmola Teatre, La Fura dels Baus and El
Tricicle, for instance, were more interested in aesthetics than politics. Faced
by the new democracy under the constitutional monarch, King Juan Carlos,
and given the rising institutionalization of culture, many groups from the
Independent Theatre (such as Tàbano, Los Goliardos, Esperpento and Akelarre)
disappeared. Others survived by making their shows more spectacular and
thus more appealing to international festivals (Els Joglars, La Cuadra de
Sevilla and Comediants) or by veering towards the commercial circuit
(Dagoll-Dagom).
Links with International Theatre

It would be no exaggeration to say that post-1968 European and North-American
avant-garde theatre eliminated many of the psychological barriers of the con-
ventional stage (such as bourgeois structures and traditional genres). Likewise,
it attempted to reduce ticket prices and incorporate clowning and catchy
music. Embodied by companies such as Living Theatre and Odin Teatret, it
was a form of performance which altered the habits governing relations
between actor and audience. Above all, it increased the visual and figurative
elements of productions at the expense of the text, and thus evoked a whole
tradition of pre-verbal theatricality. Just as Antonin Artaud had asserted in the
1930s, this new theatre appropriated the voice, together with the mythical and
cathartic aspects of the stage, while at the same time recuperating a sensory
space for actors and audience. Thus, a more direct relationship was estab-
lished with audiences. Actors frequently addressed the audience directly or
performed within it. There was a kind of anti-illusionism, partly derived from
Brechtian epic theories, but more playful and witty. Many of the shows had
songs which, on a structural level, had a function similar to Brecht's songs.
The important thing at all times was to underline the theatricality of theatre.
This theatre often used popular forms to provoke a sort of laughter which
would make people think. Gramsci's theories on bourgeois supremacy and its
suppression of popular art and language (by considering them inferior) were
decisive; one of the most important aims of this underground theatre was to
subvert cultural repression by reviving popular forms linked more to oral than
written literature. Genres manipulated included farce, satire, commedia dell'arte,
popular songs and stories, puppets, shadow theatre, giants and carnival figures
with huge heads. (The names of Els Joglars—meaning minstrels, jongleurs or

jugglers—and Comediants—(comic) actors—are significant in this respect.)
These groups rehabilitated old traditions while simultaneously emancipating
minority values whether they were national, ethnic, racial or sexual (Catalan
theatre, Chicano theatre, black theatre, feminist theatre or gay theatre). This
theatre also employed more recent popular culture such as vaudeville,
operetta, rock music and films to provide cultural references for audiences
without any theatrical awareness.
These features of the post-1968 avant-garde changed during the following
decade when, in Europe, regular subsidies from institutions converted under-
ground and fringe circuits into venues frequented by young urban professionals.
This meant that groups concentrated more on their own aesthetic merits than
on the ideological content of their productions. In Catalonia, companies like
Els Joglars and Comediants began to receive support from the state to ensure
their financial stability. By the end of the 1970s, these groups had become big
businesses involving many people. Without financial aid, they could not exist.
(Nothing could be further from the original ethos of the Independent Theatre.)
On an international level, from 1985 onwards, radical theatre began to rede-
fine its objectives in order to become more pragmatic and competitive. While
many companies such as the San Francisco Mime Troupe have disappeared,
the ones which have survived have done so through an ability to adapt to new
technology and extend their products beyond performance to records, books
and the organization of pedagogical activities.
Mime
Alongside conceptualism (such as Arte Povera) in the plastic arts, the aesthetic
climate in the 1960s gave rise to a 'dematerialization' of the stage. Jerzy
Grotowski's Poor Theatre and Marcel Marceau's mime, for example, repre-
sented an opposition to technological and consumer optimism. Indeed, the
influence of mime (the most 'depersonalized' presence of the Western actor)
was important for a whole theatrical generation in Catalonia. Apart from the
indirect influence of Marceau, the teaching of two mime artists was crucial:
that of the Chilean Italo Riccardi and the Frenchman Jacques Lecoq.
Italo Riccardi, a disciple of Etienne-Marcel Decroux, gave a series of classes
in Barcelona in 1962. Among those who attended were Anton Font, Albert
Boadella and Carlota Soldevila (founding members of Els Joglars). Riccardi
taught them about the most refined techniques of mime in the domain of gestural
abstraction.
Lecoq's school in Paris soon became a point of pilgrimage for many

Catalan actors. Among the first who went there are Albert Boadella (future
director of Els Joglars), Joan Font (director of Comediants) and Albert Vidal
(an individual, unclassifiable performance artist). Boadella acquired his
almost scientific interest in movement from Lecoq. The analytical spirit and
the symmetry of the choreographies devised by Boadella for Els Joglars are
elements inherited from Lecoq's 'Cartesian aspect, the interest in and desire
to analyse movement'.3 On the other hand, the in situ observation—a method
used by Lecoq's students in hospitals and religious communities—also
formed part of the training of the actors in Els Joglars. Joan Font, for his part,
concentrated on the teachings of Lecoq with regard to the dynamism of forms
and colours, along with the manipulation of objects by actors.
Ritsaert ten Gate

In its early stages, Els Joglars contacted one of the most important centres of
theatrical experimentation in Europe, the Mickery-theater. Its leader, Ritsaert
ten Gate was keen to encourage young artists and invited the Catalan group to
spend a period at the Mickery, near Amsterdam, in 1971. One of the most
audacious shows by Els Joglars—Mary d'ous (Egg Mary)—began life there.
The Nancy Festival and North-American Companies

Although many European groups have outlived their American counterparts,
their origins are often to be found in experimental theatre from the USA. An
important factor was the exile of the Living Theatre in Europe. Bread and
Puppet Theatre, the San Francisco Mime Troupe and the Teatro Campesino
(of Luis Valdez) also had a considerable influence, particularly through their
performances at the Nancy Festival and the Venice Biennale.
The Nancy Festival, directed by Jack Lang, revealed the best examples of
contemporary theatre to Catalan groups. Bread and Puppet Theatre was espe-
cially important. In 1966 the American company performed Chicken Little, a
show with masks and puppets made by children from the Bronx. Nine years
later, Moros i cristians (Moors and Christians) was performed by Comediants
in public squares in Catalonia. The participants in the show also made their
own masks and puppets. Later, the relationship between the two groups
became more intense when the Bread and Puppet Theatre spent time with
Comediants at their home base in Canet de Mar (in 1977) and then, during the
following year, performed several street shows in Barcelona.
Bread and Puppet did not use the spoken word, but bare images (in motion)
formed by actors and puppets. Founded in New York by the German Peter
Schumann, the group developed one of the most aesthetically interesting lines
of radical theatre. Although Schumann produced many protest shows, he also
evolved a poetic and provocative form of performance. These aesthetic
premises were assimilated into the style of Comediants.
Other European Groups

Comediants' relationship with Odin Teatret (which also spent time at Canet de
Mar) led to the participation of the Catalan company in the theatre festival in
Bergamo in 1977. The event constituted a meeting of theatre groups from
around the world under the guidance of Eugenio Barba, the director of Odin
Teatret. Subsequently, the links between Comediants and Italy intensified.
The support of the director Maurizio Scaparro meant that the group was invited
to the carnivals in Venice (1980) and Milan (1981), and the Maggio Angelino
in Naples (1981). All these performances were highly successful and won
Comediants an international reputation.
On a European level, there are also similarities between Catalan perfor-
mance theatre and groups like Lo Teatro de la Camera, founded in 1969,
headed by Marie-Hélène Bonafé and based in Aries. Lo Teatro de la Camera
promoted Provençal regional sentiment against a centralist (French) model,
drawing on legends and folklore, as well as the Provençal language. (Similarly,
La Cuadra de Sevilla drew on symbols from Andalusian culture.)
Another important group for Catalonia was the theatre collective La
Comune, founded in 1970 by Dario Fo and Franca Rame. If Fo and Rame
recuperated older methods of acting (such as commedia dell'arte), Catalonia,
which had no specific tradition of this kind, rediscovered its admittedly con-
fused links with Mediterranean farce and the sainet.4
The 1980s
The 1980s were characterized by a high degree of eclecticism. Thus a group such
as La Fura dels Baus could be classified as Theatre/Action, Post-Avant-garde
or the Theatre of Catastrophe, terms which derive from the extension of the
concept of theatre during the 1970s. La Fura dels Baus is comparable to
groups like Royal de Luxe and Stiicken Baden, which combine elements from
installation art, rock shows and the ritual nature of theatre. There are also simi-
larities between the Neo-Circus (of groups like Archaos, Zingaro and Skinning
the Cat) and Catalan groups such as Sèmola Teatre and Zotal.
II: Catalan Performance Groups
Els Joglars
Along with mime, Brecht's ideas have had a considerable influence over this
group since Albert Boadella became its director in 1966. Boadella was an
assistant in the 1960s to the foremost Catalan Brechtian, Ricard Salvat, and
began to use certain Brechtian techniques such as narrators or commentators
in his own work.
By the 1970s, mime was emerging from its ghetto in Catalonia and begin-
ning to interact with theatre, dance and circus. Els Joglars' show El joe (The
Game) (1970) is a good example of this tendency. On a sloping circular sur-
face, bare-footed actors wearing leather trousers carried out six sketches or
games of an abstract nature. Although the actors' physical gestures dominated
the production, the company had started to integrate the human voice through
shouting and onomatopoeiac noises.
The value placed on abstraction and empty space in The Game influenced
the renewal of stage design in Catalonia through the Independent Theatre, a
renewal itself conditioned by necessarily reduced economic capacities and the
need to use material which could be easily set up and dismantled. Another
example is Egg Mary (1972), a show constructed like a musical canon. The
four actors, clones of an engaged couple (John and Mary), evolved by repeat-
ing and varying the same actions, in a minimalist aesthetic. The production
created a series of musical forms, based on some metatheatrical gesture
(which could be operatic, melodramatic or tragic). Without following a plot,
this gestural lexicon was organized in a series of repetitions, in which the
same everyday gesture, such as beating eggs or shutting a door, was tireless-
ly reproduced.
lago Pericot's set for Egg Mary consisted in the metallic skeleton of a cube,
each of its edges measuring three metres (and designed to fit into a small van
when folded up). This structure could be used just as well in circular spaces
as in traditional theatres. It became a prison, a love nest and a piece of gym-
nastic apparatus.
Besides Pericot, Els Joglars collaborated with another important Catalan
set designer during the 1970s—Fabià Puigserver. He was responsible for the
sets of Alias Serrallonga and M—7 Catalonia. Àlias Serrallonga (1974), a pro-
duction based on the mythic figure of a seventeenth-century Catalan bandit,
involved the only use of what can be termed 'simultaneous space' in the thirty
years of the group's existence. The action of Àlias Serrallonga took place in
Els Joglars, Mary d'ous (Egg Mary), 1972. Set designed by lago Pericot.
three separate spaces located in the audience. There was a little theatre (the
space for the Spanish monarchs, transformed into puppets), a metal tower (the
bandits' forest) and a platform (the scene for the fights and the capture and
execution of Serrallonga). The audience was therefore physically surrounded
by the performances.
But this formalist experimentation did not lead to abstraction. The show
was also highly political, through its use of legends and symbols which still
had a currency in Catalan society. The absolute monarchy of the seventeenth
century was compared to Francoism, and Serrallonga became an emblem of
opposition to dictatorial power. The whole work relied on the impossible dia-
logue between the people (who spoke Catalan) and those in power (who spoke
Spanish). Yet Boadella's view was not Manichaean. Through an anachronism
he showed just how materialist the 'people' could be: at the end, a contempo-
rary Catalan sells his 'national conscience' to tourists in exchange for dollars.
In 1978, Els Joglars began a new period, characterized by 'borrowed' dra-

matic situations. Boadella established a paratheatrical situation as the nucleus
of a future performance, and then violently parodied the conventions of such
performances. M-7 Catalonia (1978) presented a lecture given by two scien-
tists from the twenty-first century in which the audience is shown residual peoples
of the Mediterranean. M-7 corresponds to the coordinates of the Catalans, who
are cruelly parodied through four specimens—two decrepit old couples.
Laetius (1980) is a catastrophist parable of great formal beauty, set in a
hypothetical future in which human beings have changed into strange mutants
after a nuclear war. It is a mordant, pessimistic vision of humanity which has
a sequel in Bye, Bye, Beethoven (1987). Olympic Man Movement (1981), on
the other hand, became a provocative public meeting of an organization
designed to promote healthy living, which defends totalitarian and racist val-
ues through sport. This production included questions directed at the audience
as part of the recruitment of accolytes for the sect of 'Olympic men'.
The 'borrowed' dramatic situation of Teledeum (1983) is an ecumenical ser-
vice which has to be broadcast on television. Composed of monks, Catholic
chaplains, Protestant ministers, Jehovah's Witnesses and Mormons, the show
caused considerable protest amidst the most conservative sectors of Spanish
society. Christianity came under fire again in Columbi Lapsus (1989), in
which the internal intrigues of the Vatican are attacked through a supposed
report carried out by impertinent paparazzi. A journalist from the gutter press
insists on clarifying the real reasons for the sudden death of Pope John Paul I.
Virtuosos de Fontainebleau (Virtuosi of Fontainebleau) (1984) begins with
an exquisite chamber concert, performed by a French group, a paradigm of
Cartesian, European civilization. But the members of the orchestra start los-
ing their composure when they come into contact with Spanish folklore. The
violinist is an exhibitionist, the viola player a nymphomaniac and the bassist
a megalomaniac who thinks he is Napoleon.
The world of madness has attracted Boadella a good deal because of its
capacity to alter established values. Psychoanalysis served as the theatrical
source for two shows directed by him: Operació Ubú (Operation Ubu) (1981)
and Gabinete Libermann (The Libermann Laboratory) (1984). Madness is
also present in Yo tengo un tío en America (I Have an Uncle in America)
(1991), designed to coincide with the five hundred years celebration of the
discovery of America. The patients of a lunatic asylum identify with the
Paquis, an imaginary American tribe, while the psychiatrists and nurses
become, in the minds of the patients, the Spanish conquistadores.
Els Joglars, Virtuosos de Fontainebleau (Virtuosi of Fontainebleau), 1985.
According to Boadella, the actor becomes the key element for theatre and,
in general, the actors of Els Joglars are distinguished by the precision of their
gestures. Boadella develops actors with a mechanical body, capable of
astounding transformations. They also have to be cunning enough to captivate
the audience with their movements. Learning how to persuade and provoke
are an important part of their training. The actors have to be able to invent new
ways of performing. For Laetius, for example, Boadella made them study
videos on insects so they could transform themselves into post-nuclear larvae
and avoid any human gesture. In other pieces, the actors had to reproduce very
precise human behaviour, such as the finger movements and facial gravity of
the members of a chamber orchestra in Virtuosi of Fontainebleau.
Among its work for television, Els Joglars devised a parody of the docu-
mentary genre for TV3 (Catalan Television), entitled Som una meravella (We
Are Simply Marvellous) (1989). Each programme reproduced the same pat-
tern: firstly, an offscreen voice introduced viewers to some social problem (such
as unemployment or pollution); there then followed a series of comical scenes
related to the topic. Boadella himself acted as interviewer in these programmes.
One year later, Els Joglars made a similar series for Spanish Television, called
Ya semos europeos [sic] (Now, Let's Be European). In 1991, Spanish Television
offered the group another slot. This time they decided to produce short pro-
grammes, five minutes long, making up a series entitled Orden especial (Special
Order). In each of the forty programmes Els Joglars presented a hated archetype
of social life: the contemporary painter, the sensationalist reporter, the honest
tax-payer, the hypochondriac, the forty-year old seducer, the progressive
priest, the gossipy hairdresser or one of the 'beautiful' set. As with most
shows by Els Joglars, the impact was not merely aesthetic, but social as well.
Comediants
At the beginning of the 1970s, the amount of collective theatrical activity
increased greatly. Faced by the imminent political change, a period of popu-
lar excitement provoked the apppearance of street theatre and the recuperation
of traditional festivals banned by Francoism. Catalonia thus rediscovered car-
nival and the Festes Majors,5 which, for a long time, had been central events
for the Catalan people. Comediants, formed in 1971, is the most representa-
tive group within the categories of festival theatre and open-air theatre. The
company has evolved a style which combines rituals and paratheatrical mani-
festations with ultramodern technology. Since their first public appearance in
Non plus plis (1972), a bumptious gathering of giants and carnival figures
with huge heads, Comediants have concealed an element of transgression
beneath an outwardly candid appearance. The first production revealed the
methods that would be used in subsequent shows: provocation, open-air per-
formance and work with masks.
Headed from the outset by Joan Font, the first shows of the group—Catacroc
(1973), Moors and Christians (1975) and Sol, solet (Sun, Little Sun)6
(1979)—drew on traditional, popular techniques. They incorporated fireworks,
shadow theatre and cardboard figures (techniques that were common in
nineteenth-century Catalonia). Sun, Little Sun had as its main figure a sun king
(an immense mask) and comprised popular songs and stories, in line with the
lively, Catalan, festive nature of the show. The obverse to this show was La
nit (Night) (1987), devoted to the moon, dreams and the nocturnal world.
For a repressed society like Catalonia, the recuperation of the fiesta—under-
stood as a pagan ritual—signified an act of national self-assertion. In this kind
of performance, the encounter which takes place between actors and audience
is real, not illusory. There is always a dimension which does not allow for the
passivity of the spectator. Hence, fiesta-based theatre uses not realist, but
archetypal images to stimulate an 'atavistic memory' still preserved by con-
temporary man.
This process occurred in the performance of a piece like Dimonis (Devils)

(1982), a magnificent example of anthropological theatre. As in other productions,
the group used material from the carnival cycle, along with its inversion of
values, typified by cross-dressing. Joy, impudence, cynicism and a taste for
the macabre all have their part to play in Devils. Carnival emphasizes a par-
ticular colouring—red. Thus this colour, which brings the vital, carnal com-
ponent to the fiesta, is dominant in Devils. The infernal landscape of the show
takes the form of a journey, derived from the Catholic via crucis, in which the
charming devils show off their acrobatic skills in a series of parades. The
notion of the journey allows a fictional content to surface, since it transports
the audience to the kingdom of the diabolical fauna during the night. Specta-
tors are jostled by devils amidst fire and music. As Bim Mason says of
Comediants: 'they use the journey format and it shows how they manage to
move large crowds as well as having a profound effect on them.'7 Apart from
the influence of carnival, Devils is also related to one of the oldest festivals in
Europe—the Patum de Berga.8 The presence of the dreaded devils or plens is
especially important in this festival which was absorbed by Catholicism into
the Corpus Christi celebrations.9
Comediants, Dimonis (Devils), 1982.

After abandoning the traditional architecture of the theatre, the space chosen
becomes transformed by the performance, as a new relation is established
between the socio-historical nature of the space and the theatrical production.
Devils was played differently at Avignon (where the devils assaulted the Papal
Palace) from the way it was performed in Gaudí's Parc Güell in Barcelona
(which exalted pagan and oneiric qualities) or on the snow-covered surfaces
of Albertville during the 1992 Winter Olympics.
Devils became a model of street theatre for many Catalan groups, such as
Xarxa Teatre, Bat and La Favorita. Indeed, street theatre was a kind of train-
ing ground for designers and actors who had to adapt to different venues not
intended for theatrical performance. Performances took place in streets,
squares and inside buildings.
Alongside the live shows it has produced, Comediants have developed
other multidisciplinary projects. They had their first television programme, a
children's show called Terra d'escudella (Land of Stew), produced in 1976.10
Two years later, Comediants took over the management of the Cafè-Teatre
Odeón in Canet de Mar, a coastal village where the group eventually settled.
From 1979 to 1981, the company organized several festivals and, in 1981, it
started the Street Theatre Festival in Tàrrega.
In 1983, the LP of Sun, Little Sun was released. It included the soundtrack
of the show of the same name, made up of popular songs. Material from the
show was also included in a book-object with metal covers, fold-out pages
and illustrations. The book won several international prizes. Comediants have
made a film with Carles Mira entitled Karnaval (1985), which was shot in the
Teatre Municipal of Girona. One year after the premiere of Night, Comediants
produced two books based on the show: a box-book entitled La nit (Night) and
a phosphorescent book to read in the dark, entitled Somnis (Dreams).
The multidisciplinary emphasis of the group is encapsulated by the nature
of their home base, the Centre de Creació La Vinya in Canet de Mar. It is used
for theatrical work, but also as a film set, a venue for teaching and for organ-
izing experiments like Nit de nits (Night of Nights) (1989), a participatory
spectacle which lasted from dusk to dawn. In 1990, the group filmed a television
series of thirteen programmes called Teveo de noche (Night Comic)'' which
re-used material from Night. Each episode introduced goblins who brought
darkness to a block of flats which was the residence of the inventor of the
machine for stealing dreams.
However, the company's most public work came in the 1992 Olympic
Games. Comediants organized the closing ceremony in which the birth of life
Comediants, La nit (Night), 1987.

was visualized through fire and the formation of the solar system. It was a
pyrotechnical tour de force which made planets, stars, the sun and the moon
appear in a magnificent dance of the universe. This large-scale spectacle in
which 850 people participated is probably the best example of Comediants'
ability to organize macro-events where elaborate visual effects and technical
perfection come together.
Dagoll-Dagom
Dagoll-Dagom was formed in 1974 from a group of university students.
Directed in its early stages by Joan Ollé, it produced one of the most repre-
sentative shows of the Independent Theatre in 1977, No hablaré en clase (I
Will Not Speak in Class), with a text by Ollé and Josep Perramon. Childhood
memories of repressive Francoist education structured a show based on
repeated set phrases and images. It was a 'show-puzzle' which rapidly became
one of the theatrical hits of the Spanish transition to democracy. From the
night of the premiere, so many Spanish contracts were offered that the mem-
bers of the company had to give up their other jobs and turn professional.
Later, under the direction of Joan-Llufs Bozzo, Dagoll-Dagom devised its
own form of musical. Antaviana (1978), based on the stories of the Catalan
writer Pere Calders, was the first time an Independent Theatre company had
produced a show without any political reference or theme. 'Antaviana', a
mysterious word invented by a child to escape the boredom of homework,
becomes, whenever it is pronounced, a key to penetrate a world of fantasy.
From that moment, the transformations control the stage which changes into
a box of surprises, presided over by a playful Harlequin who facilitates the
child's tender, poetic and ironic dreams. The success of Antaviana was so
great that the critic and theatre historian Xavier Fàbregas did not hesitate in
defining its premiere as 'the night on which theatre in Catalonia underwent a
Copernican revolution'.12 The galactic music of the composer Jaume Sisa ini-
tiated the group's steps towards the creation of a 'Catalan musical'.
La nit de Sant Joan (Midsummer's Night) (1981) was another foray into
musical theatre. The theme was midsummer's night, the summer solstice dur-
ing which, around the fire, the magic of goblins, stars and lovers intermingled.
The production tried to fuse Mediterranean tradition with elements from mod-
ern life. This time Jaume Sisa performed his songs live. From Midsummer's
Night onwards, Dagoll-Dagom has tended to produce more conventional
works, such as Gilbert and Sullivan's Mikado (1986) or Àngel Guimerà's Mar
i cel (Sea and Sky) (1988).
Sèmola Teatre
Formed in 1978 within the realm of new circus, Sèmola Teatre is now fairly
well known in Europe, even though its first international success did not come
until 1988 with In Concert, a production performed indoors or in the open air.
Sèmola Teatre, under the direction of Joan Grau, is characterized by its work
with poetic images which lend themselves to symbolic readings. Starting not
from any real plot, but from a soundtrack composed of fragments of classical
music, In Concert is located in a circular space (derived from a circus arena)
and involves dangerous, suggestive images, such as a man throwing himself
from a great height into a tub surrounded by fire. The actors' work in Sèmola
Teatre is based on circus acrobatics.
Following their line of research, Sèmola Teatre premiered Híbrid (Hybrid)
in 1992, a production of impossible, unreal and absurd actions based on
everyday man and his relations with other people and domestic objects. It
reflected the humanist collapse of post-industrial society with strongly poetic
images. Hybrid was less connected to the circus, reflecting rather the influ-
ence of Surrealist aesthetics. One of the most striking images of this dream-
like, morbid atmosphere was a woman, wearing a long, red dress, making
love to a body which was hanging amidst big sacks filled with sand.
La Fura dels Baus

There can be no doubt that contemporary theatre has evolved a new definition
of performance by extending the dynamic interaction of theatrical languages.
Some theatrical groups can thus be called groups of 'interdisciplinary crea-
tion', in which theatre, dance and performance combine with other visual
sources from the history of art, cinema and television, together with jazz and
rock. La Fura dels Baus, founded in 1979, includes artists from various disci-
plines (art, performance, music and dance) and can be considered the most
significant Catalan representative of this kind of new theatre.13
As products of street theatre and heirs to the 'boom' of Comediants, the
nine members of La Fura dels Baus decided to subvert the optimistic values
of festival theatre and opt for provocation. This attitude was typified in their
first international success Accions (Actions) (1983). La Fura dels Baus's early
period was also crucial for the acquisition of certain skills: tightrope walking,
the ability to handle fireworks, physical domination over the audience and
performance in open spaces. (A performance space was created in which
actors and audience existed side-by-side.) Later, they invented new tech-
niques (based on the relationship between actor and machine) and a system of
intense training to build up physical stamina.
La Fura dels Baus, Accions (Actions), 1983.
Actions was a collage of sensations that each member of the audience had
to recompose. All the scenes of the collage, such as the scenes with the white
man or the chrysalid-men, conceived theatrical space as an expressive ele-
ment in itself. Through light and sound, the scenes camouflaged and trans-
formed all aspects of space. Naked chrysalid-men, in a foetal position, covered
by a plastic placenta, were thrown into the void by means of a pulley attached
to a cable. Their bodies crashed against a wall covered with bags of red liquid.
The impact burst the bags so that flesh, plastic and 'blood' came together
symbolizing birth and death. It also formed a visceral, lyrical event reminis-
cent of Jackson Pollock's Action Painting, Yves Klein's Anthropometries,
Viennese Neoexpressionism and Body Art.14
Actions had no central plot, but was rather centred on the physical alteration
of a space. According to the group:
Actions is a game without any norms, a ball kicked right in the
face, a noisy racket, a release of light and pyrotechnics; it is the
best way of destroying a car, a sharp blow, a brutal succession of
hammer blows, a sonorous execution, a chain of limit-situations,
a plastic transformation in an unusual area.15
The 'physical' nature of contemporary theatre is encapsulated in the theatrical

use of different urban spaces, such as markets, train stations and factories which
have fallen into disuse. La Fura dels Baus's contribution to this theatrical
counter-culture is a kind of post-industrial aesthetic. Through shows such as
Actions and Suz/o/Suz, the group have adapted each performance to the char-
acteristics of their chosen venue, thus varying the symbolism of the works.
Suz/o/Suz in its performance in the Madrid morgue was more apocalyptic than
the performance in a garage in Sydney.
Suz/o/Suz was premiered in 1985 in Madrid and consolidated the group's
reputation for creating strongly visual, sensory performances accompanied by
powerful music played live. The work is a ritual with a neo-primitivist aes-
thetic. It is not, however, a copy of any precise ritual, but an attempt to dis-
cover relationships between primitive and urban tribes, between ritualistic
ceremonies and spectacular events. This aesthetic intermarriage is clearly
revealed in the production. At the beginning, the actors wear only a white shirt
with a black tie, elements which are emblematic of urban clothing, but which
have become residual. They are two of the series of object-corpses of con-
sumer society that are displayed in the show.
Throughout Suz/o/Suz we are reminded of the Artaudian necessity of
returning to the roots of theatrical ritual. Hence, we witness actions with ritu-
alistic resonances, such as the immersion of characters in a foetal position in
enormous transparent cubes. This sequence, called 'the bathtubs', suggests a
beautiful birth of initiation. Similarly ritualistic elements are contained in the
fight with fire or the consumption of raw meat. In Suz/o/Suz, Rousseau's
noble savage is perversely converted into the component of an urban tribe
within a 1980s mythology. The presence of the actors' naked bodies oscillates
between prelapsarian innocence and the sort of narcissistic exhibitionism
more suited to a rock concert.
Indeed, in all the performances of La Fura dels Baus, a visceral kind of act-
ing predominates. As a result, the actors' bodies are exposed to audiences as
gestural and phonic vehicles, designed to create fields of energy between
themselves and each spectator. In such sensuous theatre, the performers' bodies
act as seismographs, registering the different states of tension throughout each
production. If the 1980s were the period of bioenergy, Gestalt therapy, the
nude-look and industrial music, there has also been a tendency on the stage
towards a kind of individualism, in order to reduce action to pure gesture and
dispense entirely with the word. Bodily communication and exhibitionism form
an essential part of the neo-rituals of 1980s culture. However, La Fura dels
La Fura dels Baus, Suz/o/Suz, 1985.

Baus's style of performance can be termed 'behaviour-based', since each pro-

duction displays diverse forms of human behaviour. There is also an evaluation
of the destructive act as a critical reflex of an object-based society. (The best known
scene from Actions is when the performers destroy a car with sledge-hammers.)
Tier mon (1988), the last title of the trilogy, deals with man as a fighting
being.16 It follows a sort of plot, even contains a notion of characters (such as
the powerful man and the slaves), and indicates a change within the aesthet-
ics of the group. As well as producing horrifying images (such as that of execut-
ed men swinging from the top of poles), Tier mon reveals the growing impor-
tance of technology as a creative language. Long-range spotlights, like those
used in sports stadia, are employed to produce a dense atmosphere capable of
sensuously creating space. The model for the acting space of Tier mon was a
live cell, and the audience was supposed to experience a kind of osmosis
when entering or leaving the space.
A scientific model was also used in La Fura dels Baus's fourth show, Noun
(1991), based on a cybernetical concept. By eclipsing even the presence of
human beings, technology became the protagonist of the production. This was
not the only novelty: for the first time since 1982, women were reincorporated
into the performance process.
Like Comediants, La Fura dels Baus have marketed products related to
their shows. They have made a maxi-single Ajoé (1986) and two LPs, Suz
(1988) and Noun (1990). (The LP Noun was produced before the show of the
same name, in collaboration with the flamenco singer Ginesa Ortega.) The
video Ulelé (1987), made by Francisco Montoliu, includes fragments of the
production of Suz/o/Suz relocated in open landscapes. La Fura dels Baus's
interest in machinery led them to organize Automates (Automata) in 1988, a
dynamic exhibition of machines and sound contraptions used in Suz/o/Suz and
Tier mon. More recently, Marcel·lí Antúnez, one of the members of the group,
has, on his own and with another group called Los Rinos, organized an inter-
esting series of installations/exhibitions.
La Fura dels Baus, a collective with no leader or director, also participated
in the Barcelona Olympic Games in 1992 by organizing the opening ceremony,
Mar Mediterrània (Mediterranean Sea). It was conceived as a spectacular
cosmogonic fight, derived from the ancient Roman naumachia, between igno-
rant irrationality on the one hand (represented by animals and fantastical mon-
sters like the hydra) and civilization on the other (represented by the sea, a
ship and Hercules). This plot was introduced through a sophisticated, pre-
recorded video portraying the movement of masses and set to music by
Ryuichi Sakamoto. The result was a kind of gestural 'score' which created a
new conceptual and aesthetic precedent for Olympic ceremonies of the future.
El Tricicle & Vol.Ras

One of the results of the vogue for mime in Barcelona in the 1970s was the
growth of mime schools which frequently offered courses given by prestigious
foreign practitioners. Lindsay Kemp, Jango Edwards and Stewy were among
the best known of these non-Spanish visitors. Kemp exerted an influence
through his aesthetic extravagance, whereas Stewy became known for his
technical virtuosity and Edwards excelled at improvisation.
These visits had a Catalan counterpart. In 1976, a mime department was set
up in the Institut del Teatre. Co-directed by two Poles, Pawel Rouba and
Andrzej Leparski, both pupils of Henryk Tomaszewski, this department was
responsible for training the majority of mime artists and gestural actors in
Catalonia. The style it promoted was ludic and vigorous. As Thomas Leabhart
puts it, Tomaszewski's expressive movement vocabulary is a hybrid of mime
and ballet.'17
Another important mime school was El Timbal, founded by Anton Font, the
first director of Els Joglars. Font was director of the ephemeral Barcelona
Mime Festival from 1979 to 1981, where El Tricicle, one of the most popular
Catalan groups, made their debut. El Tricicle, founded in 1979, and Vol.Ras,
another trio founded one year later, grew from the mime department in the
Institut del Teatre.18 Both are characterized by a kind of post-modern mime
which is strongly eclectic in its use of sounds and objects. Their style is an
indiscriminate mixture of techniques, such as the use of masks and clowning,
combined to produce the desired comic effect. Their shows are popular and
full of gags.
El Tricicle (Paco Mir, Carles Sans and Joan Gràcia) base their shows on
sketches, often starting from a central theme. Exit (1984) was about airports
and their bewildered inhabitants, while Slàstic (1986), one of their best pro-
ductions, is a hilarious sort of journalistic report on sports and sports enthu-
siasts. Terrific (1990) reviews all the commonplaces of horror films. In their
television series Tres estrelles (Three Stars), a silent-screen style was
employed to present the activities in a luxurious hotel frequented by out-
landish clients.
Vol.Ras (comprising Joan Cusó, Joan Faneca and Joan Segalés) follow a
similar line, although they are more influenced by film, especially the absurd
elements in the cinema of Jacques Tati. Insòlit (Unusual) (1989) presents the
El Tricicle, Èxit, 1984.
ups and downs of three tramps with a 'sound track' very much like that of
early American comedy films. Pssssh . .. (1992), their most recent show, nar-
rates the adventures of strange nurses and jokey old terminal patients in a mad
hospital.
As a consequence of the commercial success of El Tricicle and Vol.Ras, the
comic trio form has proliferated in Catalonia. Poca-Conya, Quin Pal, Xàpertons,
Companyia ínfima La Puça, La Tal and Los Los are examples of the genre.19
They all have in common the fact that they are male trios whose work is
humorous and whose style is predominantly clownish.
La Cubana
La Cubana grew out of an amateur group from Sitges in 1980 and, from the
very beginning, performed a kind of street theatre very different from festival
theatre or carnival. Metatheatre soon became La Cubana's leitmotiv. Their
first successful show—Cubana's Delicatessen (1983)—consisted of eleven
actions performed in the street. 'Una trampa para Teresa' ('A Trap For
Teresa'), for example, was based on the adventures of a strange spinster who,
travelling in the company of some female friends, becomes confused and ends
up being trapped behind the bars of a department store. From this position, she
begs help from her friends. The pedestrians/members of the audience react in
different ways: some think that the action is real; others go along with the
theatrical game. The members of the audience thus become the true
protagonists of the piece. Street theatre was taken up again by La Cubana in
Cubanadas a la carta (Slices of Cubana à La Carte) (1988), a catalogue of
unusual actions. In one, eight brides dressed in white meet at the door of a
church and quarrel as they wait for a bridegroom who has disappeared.
La Cubana have also re-theatricalized conventional spaces in their shows
performed indoors, such as La tempestad (The Tempest) (1986), Cómeme el
coco, negro (Soft Soap Me, Black Man) (1988), and Cubana Marathon
Dancing (1992). In their version of Shakespeare's The Tempest, the text
became a pretext for decodifying a series of theatrical situations inside a con-
ventional theatre. At the beginning of the show, The Tempest is performed in
a traditional way, on a proscenium stage. Gradually, however, the storm goes
beyond the stage and invades the stalls, so that the performance has to be
stopped. The theatre 'staff' (such as ushers and ticket clerks) try to help members
of the audience, while the 'staff from the Red Cross arrive to organize a
strange rescue operation. The result is that actors and members of the audi-
ence end up in the same space in this performance within a performance.
In Soft Soap Me, Black Man, the spotlight falls on the conventions of the
revue—a popular theatrical genre in Catalonia. The show deals with the per-
sonal and theatrical goings-on of an imaginary third-rate revue company. Cubana
Marathon Dancing reproduces a marathon dancing competition organized by
a sect which attempts to gather acolytes among the most resistent competitors/
members of the audience.
Jordi Milan, the director of La Cubana, pushes such theatrical games to
their limits, by trying to cause the most uncertainty among audiences. The act-
ing style of La Cubana, which has had a great popular impact, reinforces the
recovery of a Mediterranean tradition of farce and caricature. La Cubana tries
to portray characters from daily life (spinsters, village lads or fifty-year-old
gay men) from a ludic perspective. On television, La Cubana has produced
Teresines, S.A. (Little Teresas, pic.) (1991), a comic series about the lives of
three sisters who are unmarried dressmakers, and their neighbours who live in
the same building.
Zotal
In recent neo-circus performance groups, such as Sèmola Teatre, Zotal and
Circ Perillós, classical circus techniques combine with a good dose of
theatricality. Zotal, founded in 1980 under the direction of Helena Castelar,
stand out above all for their exploration of stage space. The stage device in
Zombi (1988), their best known production, acts as a living being, changing
visibly as the show progresses. On a proscenium stage, a sloping canvas
surface moves like an immense epithelium, engulfing characters through
small 'mouths' or making them slither on its slopes. In this production, centred
on the fragility of human relationships and performed in a humorous style, the
stage design plays a major role, becoming a kind of 'dramatic character'.
Notes
1. For more on these influences, see Chapter 3 in Eugene van Erven, Radical People's
Theater (Indiana: Indiana University Press, 1988). Chapter 9 of the same book deals
with Spanish Independent Theatre.
2. As well as meaning 'money returned', the Catalan can mean the amount of mer-
chandise added to make up a precise weight measure.
3. Thomas Leabhart, Modern and Post-Modem Mime (London: Macmillan, 1989), p. 92.
4. The sainet is a one-act, humorous and often satirical play, the tradition for which
dates from the seventeenth century.
5. The Festa Major (Major Festival) is celebrated by every town and village all over
Catalonia (and other areas of Spain). These festivals normally take place in summer.
They are a combination of Christian and pagan traditions. Sporting events and artistic
competitions are an important part of the festivals. The emphasis is on popular culture,
in which people of all ages take part.
6. A popular Catalan song runs: 'Sol, solet, vine'm a veure, que tinc fred' ('Sun, little
sun, come and see me, I'm cold').
7. Bim Mason, Street Theatre and Other Outdoor Performance (London: Routledge,
1992), p. 49.
8. A patum is a figure representing a fabulous animal which is paraded through the
streets during popular festivals, particularly in the small town of Berga, located about
one hundred kilometres to the north of Barcelona. Patum de Berga is also used to indi-
cate the short play performed in Berga on Corpus Christi and the following Sunday.
9. The devils or plens (an untranslatable term) are demonic figures linked to pre-
Christian agrarian orgiastic rituals. They jump amidst pyrotechnical explosions.
10. While the singular 'escudella' translates as 'stew', 'terra d'escudelles' (the plural
form) is a kind of scouring powder. A play on words is probably intended.
11. The Spanish title is a play on the words TV and tebeo (comic).
12. Quoted in Dagoll-Dagom, Dagoll-Dagom: 1974-1989 (Madrid: Comunidad de
Madrid, 1989), p. 17.
13. Fura means 'ferret' in Catalan, whereas a bau is a nautical beam.
14. For a performance context to some of these artistic genres, see RoseLee [sic]
Goldberg, Performance Art: From Futurism to the Present, 2nd edn (London: Thames
and Hudson, 1988), pp. 144-49.
15. From the programme for Accions, written in Spanish. The use of Spanish forms
part of the provocative aesthetics of the group.
16. Món means 'world' in Catalan. 'Tier' has echoes of the French tiers (third)—as the
third part of the group's trilogy —, and the German Tier (animal), stressing the prim-
itivist nature of the spectacle.
17. Leabhart, p. 144.
18. El tricicle means 'the tricycle', whereas vol ras means 'flying low/almost at
ground level'.
19. Approximate meanings of the names of some of these groups are: Poca-Conya
(Stop Joking); Quin Pal (What a Pain); Companyia ínfima La Puça (Little Flea
Company); La Tal (The So-And-So); Los Los (The The).
Further Reading
Ayesa, Guillermo, Joglars, una història (Barcelona: La Gaya Ciència, 1978).

Berenguer, Angel, Teatro europea de los anos 80 (Barcelona: Laia, 1983).
Boadella, Albert, Els Joglars, 23 anos, mayoría de edad, Cuadernos El Publico, 4
(Madrid: Centro de Documentación Teatral, 1985).
,'M-7 Catalonia'i 'Operació Ubú', ed. by Francesc Castells, Cara i Creu, 46
(Barcelona: Edicions 62, 1985).
Cabal, Fermin, Teatro espafiol de los 80 (Madrid: Fundamentos, 1985).
Camps, Teresa, 'Notes i dades per a un estudi inicial de l'activitat performance a
Catalunya', Estudis Escènics, 29 (1988), 215-25.
Coca, Jordi, Albert Boadella, el dit a l'ull (Barcelona: Pòrtic, 1971).
Comediants, Sol, solet (Barcelona: Edicions de l'Eixample, 1980).
, La nit (Barcelona: Edicions de l'Eixample, 1988).
Dagoll-Dagom ... Asínace un musical 'El Mikado', Cuadernos El Publico, 18 (Madrid:
Centro de Documentación Teatral, 1986).
Dagoll-Dagom, Dagoll-Dagom: 1974-1989 (Madrid: Comunidad de Madrid, 1989).
Els Joglars e società nella Spagna d'oggi (Venice: La Biennale di Venezia, 1978).
Els Joglars, Els Joglars: Període 1987-1992 (Barcelona: Els Joglars, 1992). In English.
Erven, Eugene van, Radical People's Theater (Indiana: Indiana University Press, 1988).
Fàbregas, Xavier, Aproximació a la història del teatre català modern (Barcelona: Curial,
1982).
Fernandez Torres, Alberto, Documentos sobre el Teatro Independiente Espanol (Madrid:
Ministerio de Cultura, 1987).
Giacchè, Piergiorgio, Lo spettatore partecipante (Milan: Angelo Guarini, 1987).
La Fura dels Bans: 3, Cuadernos El Publico, 34 (Madrid: Centro de Documentación
Teatral, 1988).
La Fura dels Baus, Publicación Noun (Barcelona: La Fura dels Baus, 1991).
Leabhart, Thomas, Modern and Post-Modern Mime (London: Macmillan, 1989).
Lecoq, Jacques, 'A propos de theatre et de mouvement', in Congrés internacional de
teatre a Catalunya: Actes II (Barcelona: Institut del Teatre, 1986), pp. 91-96.
Lesnick, H., ed., Guerrilla Street Theater (New York: Avon Books, 1973).
Mason, Bim, Street Theatre and Other Outdoor Performance (London: Routledge, 1992).
Moragas, Miquel de, Cultura, símbols i Jocs Olímpics (Barcelona: Centre
d'Investigació de la Comunicació, 1992).
Noguera, Josep, Visió històrica de la Patum de Berga (Barcelona: Rafael Dalmau,
1992).
Oliva, César, El teatro espanol desde 1936 (Madrid: Alhambra, 1986).
Pavis, Patrice, Le Theatre au croisement des cultures (Paris: José Corti, 1990).
Pérez d'Olaguer, Gonçal, Teatre independent a Catalunya, trans, by Maria Luïsa
Coromines, Quaderns de Cultura, 62 (Barcelona: Bruguera, 1970).
Racionero, Lluís and Antoni Bartomeus, Mester de joglaria: Els Joglars / 25 anys
(Barcelona: Generalitat de Catalunya/Departament de Cultura and Edicions 62,
1987). Includes English translations by James Eddy.
Ragué, Maria-José, 'The "Other" Catalonian Theatre: From Els Joglars to La Fura dels
Baus and La Cubana', Euromaske, 1 (Winter 1990/1991), 47^t9.
Salvat, Ricard, El teatro de los anos 70 (Barcelona: Península, 1974).
Saumell, Mercè, 'Aproximació al concepte d'espai en els espectacles de La Fura dels
Baus, Zotal i La Cubana', Estudis Escènics, 31 (1990), 67-94.
Torre, Albert de la, La Fura dels Baus (Barcelona: Laertes, 1991).
Valentini, Valentina, Després del teatre modern (Barcelona: Institut del Teatre, 1992).
Bibliography of Catalan Drama Translated into English
Belbel, Sergi, Deep Down (En companyia d'abisme), trans, by John London, Modern
International Drama, 26, no. 2 (Spring 1993), 5-24.
, First scene of Caresses (Carícies), trans, by Dominic Keown, unpublished.
_, After the Rain (Després de la pluja), trans, by Xavier Rodríguez Resell,
David George and John London (London: Methuen, 1996).
Benet i Jornet, Josep Maria, The Ship (La nau), trans, by George E. Wellwarth, Modern
International Drama, 8, no. 1 (Fall 1974), 43-70; and in 3 Catalan Dramatists,
ed. by George E. Wellwarth (Montreal: Engendra Press, 1976).
Brossa, Joan, 'Ten Accio-Spectacles' [sic] (Pastoral, El gibrell, Fantasca, Pregunta,
Diàbolo, Nocturn, Cinquantena acció espectacle, Cinquanta-unena acció
espectacle, Cinquanta-dosena acció espectacle, Fi), trans, by Alain Arias-
Misson, Chicago Review, 18, nos. 3^4- (1966), 78-82.
. . . _ _ , Deaf-Mute (Sord-mut), Seventeenth Action Show [sic] (Setzena acció espec-
tacle), An Action Done (Fet), The Sea (El mar), Dread of Museums (Horror als
museus), A Strip-Tease (Un strip-tease), Strip-Tease (Strip-tease) and
Discomfort: An Action for a Pianist (Molèstia: Acció per a pianista ), trans, by
John London, in Joan Brossa, Words Are Things: Poems, Objects and
Installations, Exhibition Catalogue (London: Riverside Studios, 1992).
Espriu, Salvador, The Story of Esther (Primera història d'Esther), trans, by Philip
Polack, The Anglo-Catalan Society Occasional Publications, 6 (Sheffield:
The Anglo-Catalan Society, 1989).
and Ricard Salvat, Death Around Sinera (Ronda de mort a Sinera), trans, by
Peter Cocozzella, Modern International Drama, 14, no. 1 (Fall 1980), 3-60.
Guimerà, Àngel, La pecadora Daniela (La pecadora), trans, by Wallace Gillpatrick
(London: Putnam; New York: Hispanic Society of America, 1916); trans, by
John Garrett Underbill, in Barrett H. Clark, Masterpieces of Modern Spanish
Drama (New York: Duffield, 1917).
, Tie/land /The Lowland (Terra baixa), trans, by R. H. Elkin from an adaptation
by Rudolph Lothar (New York: Boosey, 1908); Marta of the Lowlands (Terra
baixa), trans, by Wallace Gillpatrick (Garden City, NY: Doubleday, 1914).
Molins, Manuel, Tango (Tango}, trans, by Dominic Keown, unpublished.

Munoz Pujol, Josep Maria, DaliDarling (Vador: Dali'de Gala), trans, by Alan Yates,
unpublished.
Oliver, Joan, What Might Have Happened (Allò que tal vegada s'esdevingué), trans,
by Judith Willis, unpublished.
Pedrolo, Manuel de, Full Circle (Situació bis), trans, by Brian Steel, Modern International
Drama, 4, no. 1 (Fall 1970), 61-94; and in 3 Catalan Dramatists, ed. by George
E. Wellwarth (Montreal: Engendra Press, 1976).
i The Room (Tècnica de cambra), trans, by Jill R. Webster, Modern
International Drama, 5, no. 2 (Spring 1972), 19-59; and in 3 Catalan
Dramatists, ed. by George E. Wellwarth (Montreal: Engendra Press, 1976).
_ , Cruma, trans, by George E. Wellwarth, Modern International Drama, 6, no.
2 (Spring 1973), 57-80; and in 3 Catalan Dramatists, ed. by George E.
Wellwarth (Montreal: Engendra Press, 1976).
, Men and No (Homes i No), trans, by Herbert Gilliland, Modern International
Drama, 10, no. 1 (Fall 1976), 39-74.
, The Use of Matter (L'ús de la matèria), trans, by George E. Wellwarth,
Modern International Drama, 20, no. 1 (Fall 1986), 49-103.
, The Flaw (Sóc el defecte), trans, by George E. Wellwarth, Modern International
Drama, 23, no. 2 (Spring 1990), 5-4Q.
, Good News From Sister (Bones notícies de Sister), trans, by Albert M. Forcadas
and Shelley Quinn, Modern International Drama, 25, no. 2 (Spring 1992), 5-24.
Porcel, Baltasar, The Damned (Els condemnats), trans, by Javier Cerda, in Javier
Cerda, 'Contemporary Spanish Theater: Three Plays by Baltasar Porcel' (unpub-
lished Master's thesis, Southern Illinois University, 1969).
, The General (El general), trans, by Javier Cerda, in Javier Cerda, 'Contemporary
Spanish Theater: Three Plays by Baltasar Porcel' (unpublished Master's thesis,
Southern Illinois University, 1969).
, Exodus (Èxode), trans, by Javier Cerda, in Javier Cerda, 'Contemporary Spanish
Theater: Three Plays by Baltasar Porcel' (unpublished Master's thesis, Southern
Illinois University, 1969).
Rusinol, Santiago, The Prodigal Doll: A Comedy for Marionettes in One Act and Four
Scenes (El titella pròdig), trans, by John Garrett Underbill, Drama, 1 (1917),
90-116.
Bibliography of Catalan Drama Translated into English 131
Sirera, Rodolf, The Audition (El verí del teatre), trans, by John London, Plays
International, 3, no. 12 (July 1988), 54-58; and in Plays of the New Democratic
Spain (1975-1990), ed. by Patricia W. O'Connor (Lanham, Maryland: University
Press of America, 1992).
Teixidor, Jordi, The Legend of the Piper (El retaule del flautista), trans, by George E.
Wellwarth, in 3 Catalan Dramatists, ed. by George E. Wellwarth (Montreal:
Engendra Press, 1976).
Index of Names
Because of the short length of the book, we have included an index of names
and not of titles. It refers to the main text only, and not to the notes.
Akelarre 103, 105 Bread and Puppet Theatre 107, 108

Alberti, Rafael 73 Brecht, Bertolt 15, 23, 24, 25, 26, 27, 28,
Andreu, Marià 15 29, 31, 33, 36, 50, 51, 58, 59, 61, 63,
Anouilh, Jean 23, 26 105, 109
Antúnez, Marcel·lí 122 Brook, Peter 28
Arbonès, Jordi 88 Brossa, Joan 10, 15, 16, 22, 23, 24, 29,
Archaos 108 33,36,73-83,96, 129
Aristophanes 61 Buero Vallejo, Antonio 44, 51
Artaud, Antonin 28, 105, 120 Caballé, Montserrat 31
Ballester, Alexandre 26, 29 Calders, Pere 117
Barba, Eugenio 108 Calvo Sotelo, Joaquín 21
Barbero, Joan 16 Camus, Albert 84
Bartomeus, Antoni 29 Capmany, Maria Aurèlia 24, 26, 28, 29
Bat 115 Capri, Joan 21
Beaumarchais, Carbonell, Jordi 22
Pierre-Augustin Caron de 12, 31 Carner, Josep 13, 23
Beckett, Samuel 56, 73, 84, 86, 90, 92 Casas, Joan 16, 34, 96
Bekereke 103 Castelar, Helena 126
Belbel, Sergi 10, 15, 16, 34, 36, 56, Català, Víctor 34
91-96, 129 Gate, Ritsaert ten 107
Benach, Joan-Anton 30 Cerdà, Jordi-Pere 34
Benavente, Jacinto 63 Chekhov, Anton 12, 23, 31, 92
Benet i Jornet, Josep Maria 10, 15, 25, Chéreau, Patrice 35
26, 28, 29, 31, 33, 34, 36, 43, 47, 51-57, Circ Perillós 126
96, 129 Claudel, Paul 23, 33
Bergonó, Jordi 28 Coca, Jordi 73
Boadella, Albert 104, 106, 107, 109, Cocteau, Jean 33
110, 111, 112 Comadira, Narcís 34
Bonafé, Marie-Hélène 108 Combalía, Victoria 75
Bonnín, Hermann 32, 33, 80 Comediants 10, 15, 16, 37, 103, 105,
Borràs, Enric 80, 81 106, 107, 108, 113-17, 122
Bosc, Samuel 61 Companyia ínfima La Puça 124
Bozzo, Joan-Lluís 117 Cunillé, Lluïsa 16
Cusó, Joan 123 Gomis, Ramon 28, 31, 36

Dagoll-Dagom 37, 103, 105, 117 Gràcia, Joan 123
Davi, Pius 20 Graells, Guillem-Jordi 29, 31
Decroux, Etienne-Marcel 106 Gramsci, Antonio 104, 105
Devine, George 27 Grassi, Paolo 20
Díaz-Plaja, Guillem 24 Grau, Joan 118
Diderot, Denis 66 Greene, Graham 21, 24
Duras, Marguerite 33 Gris, Juan 82
Diirrenmatt, Friedrich 23, 59 Grotowski, Jerzy 25, 106
Edwards, Jango 123 Gual, Adrià 12, 13
El Rogle 60, 61, 63 Guimerà, Àngel 12, 13, 20, 31, 33, 34,
El Tricicle 10, 37, 105, 123-24 37, 117, 129
Els Joglars 10, 15, 28, 29, 30, 33, 37, Guinness, Alec 15
103, 104, 105, 106, 109-13, 123 Handke, Peter 27
Esperpento (the group) 103, 105 Hauptmann, Gerhart 12
Espert, Núria 27, 31,33, 48 Hausson 74
Espriu, Salvador 20, 22, 23, 25, 26, 27, Havel, Vaclav 88
31,36,47-50,52,55, 129 Heidegger, Martin 85
Fàbregas, Xavier 32, 44, 45, 58, 77, 117 Hochhuth, Rolf 28
Faneca, Joan 123 Ibsen, Henrik 12, 33, 64
Flotats, Josep Maria 10, 15, 34, 35, 36, Iglesias, Ignasi 12
37 lonesco, Eugene 23, 24, 63, 73
Fo, Dario 108 Jarry, Alfred 63
Foix, Josep Vicenç 73 Jonson, Ben 23
Font, Anton 106, 123 Junyent, José Maria 73, 96
Font, Joan 107, 113 Kemp, Lindsay 123
Fontanella, Francesc 34 King Juan Carlos 105
Franco, General Francisco 14, 19, 29, Klee, Paul 93
54, 62, 63, 80, 84, 96 Klein, Yves 119
Francoism 27, 29, 36, 43, 47, 51, 60, 62, Koltès, Bernard-Marie 31, 35, 56, 92
74,77,79,81,84,89,103,104, 110, 117 La Comune 108
Fregoli, Leopoldo 74, 75, 82 La Cuadra de Sevilla 103, 105, 108
Friel, Brian 31 La Cubana 124-25
Galàn, Eduardo 93 La Favorita 115
García Lorca, Federico 73, 74 La Fura dels Baus 10, 15, 16, 37, 105,
Garsaball, Pau 28 108, 118-23
Genet, Jean 31 La Tal 124
Geroa 103 Lang, Jack 107
Gide, Andre 91 Lavelli, Jorge 33
Gilbert and Sullivan 117 Leabhart, Thomas 123
Giraudoux, Jean 23 Lecoq, Jacques 106, 107
Godoy, Manuel 55 Leparski, Andrzej 123
Goldoni, Carlo 12,23,31 Living Theatre 105, 107
Index 135
Llach, Lluís 104 Napoleon 111

Lo Teatro de la Camera 108 noucentisme 13
Los Goliardos 103, 105 O'Casey, Sean 90
Los Los 124 O'Neill, Eugene 31,51
Los Rinos 122 Odin Teatret 105, 108
Lujàn, Nestor 21, 22 Oliver, Joan 15, 19, 22, 23, 29, 31, 36,
Maeterlinck, Maurice 12 44-47, 130
Malniu, Joan de 20 Ollé, Joan 63, 117
Mamet, David 56 Olmo, Lauro 51
Maragall, Joan 23 Ors, Eugeni d' 13
Marceau, Marcel 104, 106 Palau i Fabra, Josep 22
March, Ausiàs 62 Pasqual, Lluís 15,29,31,32
Marcuse, Herbert 104 Pedrolo, Manuel de 9, 14, 15, 22, 23, 24,
Marfany, Joan-Lluis 52 29, 36, 83-89, 130
Marlowe, Christopher 31 Perec, Georges 92
Marx, Groucho 63, 73 Pereira, Francesc 34
Marx, Karl 63 Pericot, lago 10, 109
Mason, Bim 114 Perramón, Josep 117
Maura, Antonio 46 Pinter, Harold 56, 87
Maura, Miguel 46 Pirandello, Luigi 33, 88
Melendres, Jaume 26, 28, 29, 57, 59 Piscator, Erwin 13
Mendoza, Eduard 34 Pitarra, Serafí (see Soler, Frederic)
Mestres, Apel·les 12 Pla, Josep 10, 34
Mickery-theater 107 Planella, Pere 31
Milan, Jordi 125 Poca-Conya 124
Millàs-Raurell, J. 23 Pollock, Jackson 119
Miller, Arthur 51 Poor Theatre 106
Mir, Paco 123 Pope John Paul I 111
Mira, Carles 115 Porcel, Baltasar 22, 23, 26, 29, 89, 90,
Miró, Joan 74 130
Mishima, Yukio 31 Primo de Rivera, General Miguel 13
Mnouchkine, Ariane 29 Puig Antich, Salvador 104
modernisme 12, 13 Puigserver, Fabià 31, 32, 109
Moix, Terenci 54 Quadreny, Mestres 82
Molas, Joaquim 14 Quin Pal 124
Molière [Jean-Baptiste Poquelin] 12, 23, Raimon 104
31,33,34 Rame, Franca 108
Molins, Manuel 16, 130 Rattigan, Terrence 23
Montoliu, Francisco 122 Regàs, Xavier 21,32
Monzó, Quim 33 Reich, Wilhelm 104
Muller, Heiner 35, 92 Reixach, Domènec 33, 34
Munoz Pujol, Josep M. 26, 34, 36, 130 Renaixença 11, 12
Musset, Alfred de 23, 34 Riba, Carles 13
Riccardi, Italo 106 Socrates 64

Ricci, Anna 82 Soldevila, Carles 19, 23, 34
Roda, Frederic 22 Soldevila, Carlota 106
Roig, Montserrat 34 Soldevila, Ferran 23
Romeu, Xavier 28, 29 Soler, Frederic 11, 20, 33
Rostand, Edmond 34 Soler i Antich, Joan 26, 29
Rouba, Pawel 123 Stanislavsky, Constantin 25
Rousseau, Jean-Jacques 66, 120 Stewy 123
Royal de Luxe 108 Strauss, Botho 31
Rusinol, Santiago 12, 13, 20, 23, 27, 31, Strehler, Giorgio 20, 32
34, 130 Strindberg, August 23, 31
Sagarra, Josep M. de 13, 19, 20, 21, 25, Stücken Baden 108
33,34 Tàbano 103, 105
Sakamoto, Ryuichi 123 Tàpies, Antoni 31, 74
Salvat, Ricard 24, 25, 26, 27, 48, 50, Tati, Jacques 123
109, 129 Teatro Campesino 107
San Francisco Mime Troupe 106, 107 Teatro Lebrijano 103
Sanchis Sinisterra, José 37 TEI 103
Sans, Carles 123 Teixidor, Jordi 15, 26, 28, 29, 35, 36,
Santos, Carles 74, 82 57-60, 61, 131
Sarraute, Nathalie 34 Tomaszewski, Henryk 123
Sarrazin, Maurice 23 Triadú, Joan 20
Sarsanedas, Jordi 20 Valdez, Luis 107
Sartre, Jean-Paul 26, 84 Valle-Inclàn, Ramon Maria del 50
Sastre, Alfonso 44 Vazquez Montalbàn, Manuel 34, 37
Savary, Jerome 33 Vidal, Albert 106
Scaparro, Maurizio 108 Vila, Maria 20
Schneider, Romy 92 Villalonga, Llorenç 15, 22, 27, 47, 89-90
Schnitzler, Arthur 33, 92, 95 Vittorini, Elio 86
Schumann, Peter 108 Vol.Ras 123-24
Segalés, Joan 123 Wagner, Richard 79
Sèmola Teatre 105, 108, 118, 126 Wedekind, Frank 34
Serrat, Joan-Manuel 104 Wesker, Arnold 24
Shaffer, Anthony 66 Williams, Tennessee 24, 51
Shakespeare, William 12, 23, 31, 33, 125 Wilson, Robert 35
Shaw, George Bernard 23, 47 Woolf, Virginia 91
Shepard, Sam 34 Xàpertons 124
Sirera, Rodolf 10, 14, 15, 16, 29, 34, 131 Xarxa Teatre 115
Sirera, Rodolf and Josep Lluís 15, 16, Zingaro 108
34, 60-68 Zola, Emile 12
Sisa, Jaume 117 Zorrilla, José 89
Skinning the Cat 108 Zotal 108, 126

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CONTEMPORARY

No. 1 Salvador Giner. The Social Structure of Catalonia

© for this edition by David George & John London

Produced and typeset by Interleaf Productions Limited, Sheffield

Chapter 1 Catalan Theatrical Life: 1939-1993

Chapter 2 Drama and Society

Chapter 3 Avant-Garde Drama

Bibliography of Catalan Drama Translated into English 129

David George & John London

Àngel Guimerà (1845-1924), arguably the most popular Catalan dramatist

As the movement known as noucentisme supplanted modernisme in the

After Franco's troops entered Barcelona in January 1939, imprisonments

be director of precisely such a National Theatre, the construction of which is

Aproximació a la història del teatre català modern (Barcelona: Curial, 1972),

Ediciones y Estudiós, 1 (Barcelona: Promociones y Publicaciones Universitarias,

Catalan Theatrical Life: 1939-1993

Indeed, readings and individual performances of Catalan texts took place in a

Critics were unanimous in recognizing the significance of this lamentable

of foreign plays, both classical and modern, of which there are

The Agrupació Dramàtica de Barcelona

arbitrary and irrational limits imposed by censorship. They chose representative

The Escola d'Art Dramàtic Adrià Gual and Committed Theatre

The Final Years of the Franco Regime

The Emergence of Resident Companies after the End of Francoism

of Theatre Workers), and, following a spectacular production of Don Juan

badly performed by professional groups since 1939: Batalla de reines (Battle

playwriting. Reixach has restored dignity to writers of earlier decades, by

Success Stories of the 1980s

without Theatre?'), in which he spoke openly about the marginalization of

representative contemporary Catalan plays in Europe. It would probably

7. Jordi Sarsanedas, 'Teatre català al Romea', Ariel, supplement no. 2 (September

Metròpolis Mediterrànea, 17 (1990), 65-128; 'Dossier: Dramatúrgia catalana actual',

Drama and Society

possess business sense'.1 Furthermore, no generation of realist dramatists

Have Happened) (1930), a 'bourgeois' comedy whose main characters are

social sectors, especially in the middling class . ..

brings to a triumphal conclusion, but which he is incapable of managing after-

The Story of Esther is presented aesthetically as a puppet farce, in a fashion

Josep Maria Benet i Jornet

Nevertheless, the first professional production of the play in 1973 was a

Descripció d'un paisatge (Description of a Landscape) (1978), written at

work. An apparently entertaining comic piece, Well I'm Slowed! reflects

Teixidor's development as a dramatist was determined to a large extent by

Josep Lluís & Rodolf Sirera

What is needed in Spain is social theatre

You 'II marry me when we grow up

I didn 't want to, General, they forced me into it!

in (French or Flemish, or, in El Rogle's case, Spanish or Catalan); the theatre

31. 'El realisme històric', in Història de la literatura catalana, ed. by M. de Riquer,

David George & John London

As well as writing independently, Brossa has collaborated with Catalan painters

I've always believed that the basic ingredient of the theatre

FARSA ENTENENT QUE L'ESPECTADOR

INTERMEDI D'OMBRES XINESES

Dissabte, 2 de juny de 1951, a les ]Q'30 nit, a l'antic

PRIEST Who is God?

realizes that the person who was blowing is a tall character,

In other texts, the essence of power relationships is psychologically more

Pedrolo is careful to underline that it is a product of an idealized vision,