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Stages of Exile

Spanish Republican Exile Theatre and Performance


Edited By Helena Buffery

This book brings together twelve specially commissioned essays that showcase current research on Spanish Republican exile theatre and performance, including work by some of the foremost scholars in the field. Covering a range of periods, geographical locations and theatrical phenomena, the essays are united by the common question of what it means to ‘stage exile’, exploring the relationship between space, identity and performance in order to excavate the place of theatre in Spanish Republican exile production.
Each chapter takes a particular case study as a starting point in order to assess the place of a particular text, practitioner or performance within Hispanic theatre tradition and then goes on to examine the case study’s relationship with the specific sociocultural context in which it was located and/or produced. The authors investigate wider issues concerning the recovery and performability of these documentary traces, addressing their position within the contemporary debate over historical and cultural memory, their relationship to the contemporary stage, the insights they offer into the experience and performance of exile, and their contribution to contemporary configurations of identity and community in the Hispanic world. Through this commitment to interdisciplinary debate, the volume offers a new and invigorating reimagination of twentieth-century Hispanic theatre from the margins.


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MANUEL AZNAR SOLEREspañoles en Francia: An Unpublished Play by Álvaro de Orriols 9


MANUEL AZNAR SOLER Españoles en Francia: An Unpublished Play by Álvaro de Orriols Álvaro de Orriols was a playwright who achieved considerable success during the Second Republic, with plays like Rosas de sangre (1931), Los enemigos de la República (1931), Cadenas (1934), and above all Máquinas, premiered in May 1936. Rosas de sangre received such acclaim when it was first staged at the Teatro Fuencarral in Madrid on 2 May 1931, that its author was carried out triumphantly on the shoulders of the crowd (Contreras- Pazo 1944; Orriols 1949c). He went on to see two of his plays – España en pie and Retaguardia – performed during the Spanish Civil War; but with the fall of Barcelona on 26 January 1936, he elected to go into exile with his family. Orriols’ route into exile, like that of many other refugees from the end of the war, was the long and dif ficult journey from Barcelona to the French border at Perthus, a ‘dramatic odyssey’ which he sought to recount in Las hogueras del Pertús. Diario de la evacuación de Cataluña (2008). He crossed the French border stripped of all his possessions, having lost the suitcases containing the manuscripts and editions of his previous works in Barcelona (Aznar Soler 2009). For him exile meant having to start again from scratch, from the harsh conditions of the detention camps to a new life in Bayonne. The dif ficulties he faced are condensed in the words of an...

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