Historia de los Titeres en Espana (desde sus Origenes hasta mediados del Siglo XVIII)

Shergold, N. D.; Varey, J. E.

doi:10.2307/3720559

The Modern Language Review

1958

DOI: 10.2307/3720559

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Historia de los Titeres en Espana (desde sus Origenes hasta mediados del Siglo XVIII)

N. D. Shergold¹,

J. E. Varey²

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Militant Marionettes: Two ‘Lost’ Puppet Plays of the Spanish Civil War, 1936–39

McCarthy¹

1998

Theatre Research International

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Although sixty years have passed since the outbreak of the Spanish Civil War scant regard has been given to the theatre's contribution during the conflict to the entertainment and education of soldiers. Yet drama was prominent in the range of cultural and pedagogic activities which was a marked characteristic of the Republican army. A distinct genre, known as teatro de uigencia (theatre of urgency), was actively promoted by the Republican authorities as a means of encouraging soldiers and civilians towards a ‘correct’ pro-Republican perspective. Teatro de uigencia works were generally short, single act pieces but with a surprising variety of dramatic styles and propaganda intentions. Satirical lampooning of Franco's Nationalist forces took place, for example, alongside drama whose earnestly expressed purpose was to train the enthusiastic but inexperienced Popular Militias in battlefield strategy, the importance of fortification and the need for rigorous self-discipline. Such plays were performed by a variety of theatre companies. Some, such as Lorca's La Barraca and Max Aub's El Búho, had existed since before the war but travelled to frontline locations during the conflict to lend vigorous support to the Republican forces. Other companies, known as Guerrillas del Teatro, arose from initiatives of the Ministry of Education and were attached to the Army of the Centre and the Army of the East. Still more groups were encouraged by the General Commissariat of War through its Sub-Commissariat of Agitation, Press and Propaganda. While precise details are extremely sketchy, it is also clear that, within army units themselves, performance troupes were formed for the purposes of entertainment and politico-military education through drama.

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Militant Marionettes: Two ‘Lost’ Puppet Plays of the Spanish Civil War, 1936–39

McCarthy¹

1998

Theatre Research International

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A Current Bibliography

Parker¹,

Selig²

1958

boc

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Freedom to Experiment: The Coherence and Complexity of Federico García Lorca’s Puppet Theater

Polansky¹

2014

hpn

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Federico García Lorca’s appropriation of the puppet play genre reveals that at the same time he was reaching into deep roots of popular tradition, he also was seeking opportunity to innovate and break free from limitations imposed by the commercial theater scene of the first decades of the twentieth century. Tracing the trajectory of Lorca’s puppet plays reveals that, while his puppet works contain recurring story lines, actions, and characters, they display an increasing complexity. Through metatheatrical devices such as narrator figures, Lorca takes a more self-reflective stance to communicate his aesthetic preoccupations and perspectives on puppet theater.

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Historia de los Titeres en Espana (desde sus Origenes hasta mediados del Siglo XVIII)

Cited by 5 publications

References 0 publications

Militant Marionettes: Two ‘Lost’ Puppet Plays of the Spanish Civil War, 1936–39

Militant Marionettes: Two ‘Lost’ Puppet Plays of the Spanish Civil War, 1936–39

A Current Bibliography

Freedom to Experiment: The Coherence and Complexity of Federico García Lorca’s Puppet Theater

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