By Catherine O'Leary
This monograph examines the complicated courting among Antonio Buero Vallejo [1916 - 2000] and the ideologies of Francoist and post-Franco Spain. The important concentration of the examine is Buero's political theatre and his employment of delusion and historical past to problem the suggestion of an Espa?a eterna. It additionally considers Buero's production of his personal myths and his revision of heritage with a view to rationalize and justify his personal stance. Censorship, either legitimate and environmental, used to be the relevant element of touch among author and regime. the choices made by means of Buero Vallejo in his decision to jot down and degree dedicated drama in a repressive society are evaluated right here. Rejecting the extra provocative stance of a few different dedicated dramatists, in addition to the placement of these who resolved to disregard the political and social fact, Buero's selection, with its inherent contradictions and ambiguities, used to be posibilismo. This publication seems to be at his pragmatic employment of language and silence, either in his paintings and in his dealings with the censors and with different representatives of the hegemony and analyses how posibilismo either aided and constrained him. The monograph additionally supplies an account of Buero's post-Franco theatre, which to this point has now not got the eye that it benefits. It examines the explanations for its preliminary damaging reception and its renewed significance in contemporary Spain. at present of digging up the prior, Buero's post-Franco insistence on rejecting the pacto de olvido could be extra suitable now than ever sooner than.
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Additional info for The Theatre of Antonio Buero Vallejo: Ideology, Politics and Censorship (Monografias A)
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122. qxd 3/8/05 9:13 AM Page 37 THE IDEOLOGY OF FRANCOISM 37 by the foreign media, and he declared that it was the duty of the Spanish press to put this right by promulgating the official truth. Fraga, in his memoirs, seems not to have been much impressed by his predecessor, whom he describes as ‘un hombre de bien, pero limitado; creía de verdad en su concepto muy rigorista de la moral pública. ’84 Arias Salgado lost his position in the aftermath of the Munich Congress when his handling of the situation led to a negative international reaction and the anger of the Monarchists.
Not surprisingly, there are many examples of this in Francoist Spain. Simplifications included the creation of national stereotypes of the noble, loyal raza, of the unnatural, unpatriotic opposition and of the hardworking, representative leadership. These stereotypes coupled with messages about progress, the common good and the enemy were repeated in the media, at rallies, and incorporated into ceremonies, rituals and anthems. Such ceremonies, along with symbols such as the flag, notes and coins, as well as the renaming of public spaces and the erection of statues and monuments, gave the ideology concrete form and helped to legitimate it in the eyes of the populace.
Article 8 also declared that any attack on the family or marriage, institutions dear both to Franco and to the Roman Catholic Church, was prohibited. The moral consequences of evil were to be portrayed, and where the film or play was directed at an audience of minors, the legislation stipulated that the wrongdoer must either be punished or be repentant at the end. Brutality, sexual perversions, blasphemy, pornography, subversion and attractive portrayals of alcoholism were taboo; any language that might offend against good taste, and any images or suggestive allusions that might provoke base passions, were prohibited, as were any detailed accounts of offences that could be used as guides to committing them.