Edited By Rafael M. Mérida-Jiménez
More specifically, Hispanic (LGT) Masculinities in Transition will interlink the fields of political and historical change and artistic production in order to assess whether cultural representations can be understood as mere reflections of social and political change. In terms of the materials being examined, these are, in the first instance, literary, although other narratives are also addressed (filmic production and plastic arts). This volume is essential reading for professors and students of contemporary Spanish history and culture, as well as for those interested in lesbian, gay, transgender, and masculinity issues.
6—From Stage to Screen: Flor de Otoño’s Transitional Impersonations
Throughout the Spanish decade of the 1970s, many different tensions met between the supporters of the dictatorship and those who fought to establish a fully recognized democratic regime.1 After General Francisco Franco died in 1975, on November the 20th, a fortunate political transition process began that led to a system of civic freedoms guaranteed by the Constitution passed on referendum in 1978. However, I have always considered pertinent to point out that, despite the collective success, the lights and the shadows that bring this political transition should not be forgotten (Mérida Jiménez 67–68). Establishing a comparison, which I believe revealing, the Partido Comunista de España (“Spanish Communist Party”) was legalized on April 1977 but the FAGC (Front d’Alliberament Gai de Catalunya, “Gay Liberation Front of Catalonia”)—which organized the first demonstration to fight for the rights of the sexual minorities in the Ramblas of Barcelona—had to wait until July 1980 in order to see its legal status recognized. In other words, during the Spanish Transition, the political elites felt less panic towards the Communists than towards the queers. First of all because faggots subverted the masculinity patterns and the heteronormativity imposed during decades by law.
I will focus, throughout this chapter, in the recreation of masculinity and femininity, “homosexual” and “trans,” during the decade of 1970s, through an analysis of the theatre play Flor de Otoño: una historia del Barrio Chino (Autumn Flower, 1972), by José María Rodríguez Méndez...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.