La resignificación de los márgenes del teatro independiente: Oratorio,del Teatro Estudio Lebrijano

Abstract

Oratorio, by Alfonso Jiménez Romero and Teatro Estudio Lebrijano, is arguably among the most representative plays of 1970s Spain’s independent theater. This play experienced many changes and adjustments before it was staged in the Festival Mondial de Théâtre de Nancy in 1971. These changes were tested in performances in Andalusia before audiences with little exposure to theater but sympathizing with the play. By studying a production that developed for three years, this article challenges the claims that support a history of theater as a catalogue of finished products. This article aims at considering the creative process that emerges from the direct contact with audiences in performing spaces. Independent theater archives have limitations, but they are made up with oral histories from troupe members. This article studies both the incorporation of theatrical devices associated with ritual participation of the audience and the use of flamenco reassessed as protest music. The latter included in the play as an artistic device since the tour in Andalusia. This play made explicit references to the Spanish Civil War, which prompted physical reactions from the audience in towns where the repression was fierce.     

Interrupting Augustine: Hermeneutics,Allegory, and Irony in El perro del hortelano

Whatever else El perro del hortelano might be, it is a deeply ironic text about the difficulties of reading. The play not only stages acts of reading and writing where irony disrupts understanding, it is itself an ironic reading of Augustine's moment of conversion that shows the difficulty of allegorical and programmatic readings.     

A colpi di cuore. Storie del sessantotto

This article attempts to tackle the problem of how a colonial culture that was elaborated through the written word may have impacted on an Italian society that was significantly more ‘backward’ than its western European counterparts. The Prima Guerra d'Africa (1885-96) has often been seen as a military campaign desired exclusively by an isolated Italian government in a society that was incapable of using the occasion to develop cultural themes that impacted on the desires and aspirations of the ‘real’ Italy. This supposed societal dysfunction meant that Italy failed to create a ‘culture of imperialism’ in the years of the Scramble for Africa in a way that has now come to be considered of such central importance for the histories of France, Britain or even Germany.

Through an analysis of the role played by primary schools in Italian culture in these years, this article attempts to reverse this view, arguing that even taking into consideration Italy's ‘backwardness’ there was not only a great awareness of what Italy was supposedly doing in Africa but also a serious attempt to load the events that occured there with a meaning that had a much more intimate relationship with Italy's population. Although defeat in Africa meant a major setback in this process, imperialism as a cultural phenomenon continued to be of fundamental importance to the progress of nation building and the development of nationalism in Italy and, Finaldi argues, it should therefore be assigned a place in Italian culture that is much more on a par to that which culture and imperialism are deemed to have held for other European nation-states.