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Escenarios, grito, gesto and baile in the Theater of Valle-Inclán

Albert H. LeMay
Journal of Spanish Studies: Twentieth Century
Vol. 5, No. 3 (Winter, 1977), pp. 203-219
Stable URL: http://www.jstor.org/stable/27740799
Page Count: 17
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Escenarios, grito, gesto and baile in the Theater of Valle-Inclán
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Abstract

Today the name of Ramón del Valle-Inclán has become synonymous with experimental and innovative Spanish theater. He was one of the most penetrating critics of the Spanish stage of his time, yet never wrote any significant treatise on dramatic theory or dramatic criticism. But his own theater shows that he was keenly aware of trends, currents and the nature of drama writing and production. He loudly criticized the popular and commercial playwrights of his day and their works, and challenged the direction the Spanish stage was taking. In his rejection of certain traditional aspects of Spanish drama he created dramatic and theatrical principals of his own which he rigorously incorporated into his plays. Among Valle-Inclán's most significant experiments and contributions to the Spanish stage are his creation of singular sets and the roles he attributed, through brilliant use of language, to theatrical oratory, gesto and dance. His innovative spirit and his experiments in the craft of drama writing place the author well into the mainstream of European avant-garde theater of this century.

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