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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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FRANCISCA MONTIELAn Intertextual Return: Álvaro Arauz’s Entre Medina y Olmedo 57


FRANCISCA MONTIEL An Intertextual Return: Álvaro Arauz’s Entre Medina y Olmedo According to José Carlos Mainer, ‘Cervantes y lo cervantino son un objeto de meditación insistente y capital en las letras del exilio, mientras que fue un filón muy secundario en la España coetánea del interior’ (2006: 19). Something similar is apparent in the case of Spanish Golden Age theatre, as was denounced in the Mexican Boletín de Información de la Unión de Intelectuales Españoles in 1956, with the publication of an excerpt from an article in the Madrid press alluding to the lack of stagings of Spanish clas- sics there during that season. In Mexico, on the other hand, where Álvaro Custodio’s Institut Nacional de Bellas Artes (INBA) sponsored production of Fuenteovejuna had met with considerable success, it was observed that ‘estamos asistiendo al reconfortante fenómeno de un glorioso renacimiento de nuestro teatro clásico’ (Anon. 1956: 14). The work undertaken by Span- ish Republican exiles such as Cipriano Rivas Cherif and Álvaro Custodio, respectively founders of the Teatro Español de México (1953–9) and the Teatro Clásico de México (1959–73), had a significant impact on the con- temporary Mexican stage, laying foundations for later trends in Mexican theatre. As Luis de Tavira proclaimed in 1982: ‘de los años sesenta hasta la fecha el interés por nuestros clásicos ha producido un fenómeno insólito: en 25 años se han montado...

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