Antonio Buero Vallejo

Halsey, Martha T.; Wade, Gerald E.

doi:10.2307/325215

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The Modern Language Journal

1974

DOI: 10.2307/325215

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Antonio Buero Vallejo

Martha T. Halsey¹,

Gerald E. Wade²

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Cited by 5 publications

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Nietzsche y Buero Vallejo Lo apolíneo y lo dionisíaco en la tragedia En la ardiente oscuridad

Bosa¹

2006

Estud.filos

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Se lleva a cabo un recuento breve del pensamiento de Federico Nietzsche en El nacimiento de la tragedia, particularmente lo que tiene que ver con los dioses Apolo y Dionisios. Les contenidos artísticos de la pieza teatral En la ardiente oscuridad se analizan para explicar cómo la visión del mundo que está presente en fa primera obra publicada del filósofo se encuentra en esta pieza del autor español. Se rastrean los caminos por los que Duero Vallejo llegó a conocer esta obra y. en este sentido, a Miguel de Unamuno se le concede un papel principal. El análisis incluye una búsqueda exhaustiva, en fa obra de Duero Vallejo, de lo que Aristóteles denomina la evolución de fa trama, su complicación o nudo y su desenlace, teniendo en cuenta los personajes principotes. Justicia divina en los términos en que la expresó el filósofo presocrático Anaximandro se trae a colación para explicar la presencia de fas divinidades, como fas entendió Nietzsche, en la pieza de teatro. Se ofrece una explicación de cómo a una filosofía se le do forma artística en una obra que está destinada a ser representada.

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Nietzsche y Buero Vallejo Lo apolíneo y lo dionisíaco en la tragedia En la ardiente oscuridad

Bosa¹

2006

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The Defense of Buero Vallejo

Giuliano¹

1977

Modern Drama

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TODAY'S HEROES are sometimes tomorrow's villains, and unfortunately, to a limited extent, that is the unhappy lot of Antonio Buero Vallejo, whose play Historia de una escalera (Story of a Staircase) in 1949 injected new life into the stagnant Spanish theater and inspired many young dramatists to write serious plays, directly or indirectly criticizing the political, social, and economic policies of Spain. A prisoner for six and a half years, under sentence of death for eight months, Buero was released in 1946 and soon after won the Lope de Vega prize for Historia de una escalera, which became an instant hit. Within several years, he and another outstanding young dramatist, Alfonso Sastre, became symbols of liberal opposition to the Franco regime. liberal opposition to the Franco regime.

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Expressionism in the Contemporary Spanish Theatre

Zatlin-Boring¹

1983

Modern Drama

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Although expressionism as a theatre movement per se is primarily a phenomenon of the German stage, culminating in the 1920'S, expressionism continues to have an important impact on dramatic structure and technique. Spanish theatre especially makes widespread and innovative use of expressionism, both in the social/allegorical form most directly associated with the German movement and in the personal/stream-of-consciousness form associated with American theatre, notably Arthur Miller's Death of a Salesman. The esperpento, or grotesque tragicomedy, of Ramon de Valle-lnchin in the 1920'S is closely related to German expressionism in time and intent. The contemporary Spanish avant-garde, in a theatre of social and political protest, tends to reflect the influence of Valle-Inclan in particular and expressionism in genera1. On the commercial stage, the dominant form of expressionism is the psychological with its projection of inner states of mind; it is found most frequently in the works of two of contemporary Spain's most important and innovative playwrights, Antonio Buero Vallejo and Jaime Salom.

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Antonio Buero Vallejo

Cited by 5 publications

References 0 publications

Nietzsche y Buero Vallejo Lo apolíneo y lo dionisíaco en la tragedia En la ardiente oscuridad

Nietzsche y Buero Vallejo Lo apolíneo y lo dionisíaco en la tragedia En la ardiente oscuridad

The Defense of Buero Vallejo

Expressionism in the Contemporary Spanish Theatre

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