Talía: Revista de estudios teatrales (ISSN-e 2659-806X) is an academic journal published by the Instituto del Teatro de Madrid (ITEM) specialised in theatre studies that understands drama in its textual and scenic dimensions as much as a cultural custom. The publication encompasses theatre written in Spanish both in Spain and in Latin-American countries as well as the theatre produced in other languages that exist within these territories (Catalan, Basque, Galician, Quechua, Aymara, etc.), in addition to the drama developed outside this Hispanic context (for instance, the Hispanic theatre in USA). Talía is conceived, in this manner, as a scientific publication openly international focused on the study of Spanish theatre that aspires to become referential in its field. It is a publication edited in Madrid by Ediciones Complutense.
In order to support the global exchange of knowledge, the journal Talía. Revista de estudios teatrales is allowing unrestricted access to its content as from its publication in this electronic edition, and as such it is an open-access journal. Authors who publish in this journal agree to the following terms: 1. Authors retain copyright and grant the journal right of the first publication with the work simultaneously licensed under a license Creative Commons Reconocimiento 4.0 (CC BY 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.This circumstance must be expressly stated in these terms where necessary. You can view the summary and the complete legal text of the licence. 2. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) the versión post-print, as it can lead to productive exchanges, as well as to earlier and greater citation of the published work . Talia. Revista de estudios teatrales is an open access journal that does not charge authors for article processing (submission, review or editing) or publication.
The role of Galdós' characters in three of his plays, based on the analysis of social networks
The aim of this study is to analyze the social networks of three of Galdós' dramas - Doña Perfecta, Electra and Cassandra - using Digital Humanities tools. To this end, several questions are raised: the importance of female characters and the protagonists who give titles to dramas; whether there is any difference between works adapted from novels and that which is a dramatic piece from its origin; and if the social networks of these Galdosian works are different from those of other contemporary pieces (by Valle-Inclán or Lorca). The results obtained allow us to observe, always from a quantitative point of view, that sex is not decisive as a differentiating element or protagonist, that the social networks are quite similar in the three works and that they do differ from those obtained in the examples adduced by Valle-Inclán and Lorca. For this reason, the possibility of adding this type of analysis to the study of literary works is proposed.
Copyright (c) 2025 Talía. Revista de estudios teatrales
Jaume Miró: Escrituras teatrales de la indagación y la memoria
Jaume Miró is a playwright with a unique and original theatrical career within the current panorama of Balearic theater. His works have gone through documentary theater or the so-called theater of memory. The most notable pieces as a playwright have focused on democratic memory using real documents as dramatic material, playing with fiction and reality in his proposals. But Miró's work is not only limited to these lines, but is much more multifaceted, addressing different themes from diverse dramaturgical formulations. In this article we are going to analyze the career of the Mallorcan writer, studying the foundations and concepts that influence his theatrical works to verify his literary quality, his formal experimentation and his social commitment from theatrical writing.
Vivir con el otro: sobre la obra dramática de Josep M. Miró
Drawing on Roberto Esposito’s notion of communitas, the article reads Josep M. Miró’s dramas as an exploration of how human or social collectives are constructed through the elimination of both internal (the different or dissident) and external enemies (the foreign or intruder). The plays also reveal the huge amount of violence that is perpetrated and tolerated by the community against women, non-Western immigrants, as well as homosexual and transgender people. A paradigmatic example that illustrates these ideas is Tiempo salvaje (2018), which presents an attractive and rebellious young woman whose beauty disturbs the small community of the housing estate where she comes to live. Drawing on the complex theories of ritual violence synthesised in the work of Terry Eagleton, Ivana’s death can be understood as the sacrifice of a martyr who, as in religion or classical tragedies, sacrifices herself to promote social regeneration. Thus, Miró’s drama conveys a message that avoids pessimism. However, it does not fail to denounce both the abuse and complicity of the people who remain silent about it.
Joan Yago and La Calòrica: new realisms in the 21st century Catalan theater
The text examines the aesthetic and ideological evolution of the company La Calòrica, articulated by the dramaturgy of Joan Yago. Founded in 2010, La Calòrica has developed a singular scenic language that questions the political and social reality through a humorous look. In order to identify some outstanding elements of its language, it is proposed to group its production in three periods, the first from 2010 to 2013, the second period from 2014 to 2017, and a third period from 2018 to 2023, with the aim of observing how the company has evolved towards new forms of realism in its quest to expose the structural contradictions of contemporary society. Comedy and critical analysis in its productions have allowed La Calòrica to redefine political and popular theater in Catalonia, consolidating itself as a key reference in the Catalan theater of the 21st century
The dramaturgy of Marta Barceló: memory and women’s empowerment
This paper approaches, from a micro-political perspective, the dramaturgy of Marta Barceló (Palma de Mallorca, 1973), one of the most outstanding playwrights of the new Mallorcan stage. First of all, it traces Barceló’s career as an actress and writer, as well as her conception of theatre and the projection of her dramaturgy. This is followed by an analysis of her short plays, Control de passaports (2008), Una casa a Santo Domingo (2011), Germanes de sang (2011), Rates (2012), El cabaret dels somnis vius (2012), Constel·lacions (2016) and Ahmed/Ahme/Ahm/Ah/A (2017), which already hint at some of the themes she will explore in her longer plays, such as individual and collective memory, linked to female identity. Thirdly, the exhibition examines his major works, Maria? (2009), Tocar mare (2019), Anar a Saturn i tornar (2021), Zona inundable (2022) and Contrapropuestas (2023), in which Barceló delves into the intimate experiences of women, their memory and their present, their illnesses and their interpersonal ties. Finally, an in-depth reading of Abans que arribi l’alemany (2018), a play about Alzheimer's disease, is proposed as a paradigm of empowerment and resilience in difficult situations of the anti-heroines who are the protagonists of Barceló's dramaturgy.
The following article aims to observe the creative corpus of Catalan playwright Denise Duncan (Costa Rica, 1979). It departs from an analysis of the sociocultural context in which several theatrical projects, such as Duncan’s, emerge —addressing systemic racism. Afterwards, the piece briefly analyses some of the most relevant works written by the playwright, from Negrata de merda (2018) to Banzo, el aliento de las ancestras (2019). Finally, the article provides a deeper insight to the monologue Títuba. Bruixa, negra i ramera (2023), a piece that offers a syncretism of Duncan’s intersectional theatrical ideas.
25 Years of Collective Dramaturgy: Eclipsi total (20221), of Pont Flotant
This article takes as its object of study the theatre of Pont Flotant, a collective created in the city of Valencia in 2000 by Àlex Cantó, Joan Collado, Jesús Muñoz and Pau Pons. The first part introduces the company’s trajectory, distinguishing three phases. The second part offers a detailed analysis of their latest published work, Eclipsi total [Total eclipse], a play premiered in 2021 and published in 2023, which focuses on the theme of death. This analysis will enable us to identify the differences and similarities between this work and those from earlier phases and glimpse the possible beginning of a fourth.
Memory, (in)justice and transgenerationality in the plays of Helena Tornero
This article presents an introductory overview of the work of Helena Tornero (1973-), focusing on two key aspects: her thematic treatment of memory and intergenerational trauma, and the influence of applied and social theatre on her commitment to the creation of spaces of transgenerational dialogue and transmission. It includes an analysis of the work that best represent her interests and style, El futur (The Future, 2019).
Theatricality and Ideology: Some Notes on the Dramaturgy of Joan Yago
This article analyzes the dramaturgy of Joan Yago (Barcelona, 1987) and its impact on contemporary Catalan theater. It provides a brief overview of his career, closely linked to the company La Calòrica, emphasizing the versatility of his production. In this regard, some of the theatrical mechanisms Yago uses in his works are elucidated to understand how he reinvents the coordinates of political theater through comedy. To delve into the scenic devices of his work, the article analyzes the play Entrevistes breus amb dones excepcionals, a play written in 2016 that was revised for its premiere at the Teatre Nacional de Catalunya on February 29, 2004. In this approach to the play, it is first studied how Yago uses estrangement mechanisms to place the spectator in an unusual position. Secondly, it elucidates how, through the dissonant scenic device, the spectator is driven to examine certain narratives and discourses. Thirdly, it examines how, through metatheatrical mechanisms, the author ensures that the audience establishes a dialogue not only with the stage but also with the audience. Ultimately, the article approaches how Yago dissects the spectacular nature of individual and collective construction.
Llàtzer Garcia, playwright and director, he began his professional career in 2010 in Catalan theatre with an original, personal project, socially committed, and focused on immediate reality. Between comedy and drama, he has also adapted foreign contemporary narrative and theatre writers. Garcia prioritizes a theatre that deals with current problems of common interest to all, absolutely contrary to the idea of a cryptic theatre.
De un archipiélago de acróbatas tristes a la posibilidad ilusionante de una habitación vacía: la dramaturgia de Marc Artigau i Queralt.
Marc Artigau i Queralt (1984) is a playwright with significant recognition on the Catalan scene. Having presented his eclectic dramaturgical production in relation to his publications of novels, short stories and poetry collections, I will define the characteristics of his dramaturgy in several stages: the use of narrative and poetry in his work, linked to the rhapsodic drive; the playful awareness of theatricality in the society of the digital age; the complex identity logic of the characters, turned into figures of precarious and fleeting identities; the singular use of perspective in his dramas and comedies; the elastic conception of time to dominate a disappointing present; the childlike logic in his works, linked to adult nostalgia and cruel humour; the markers of Catalanness in his work, from cultural elements to stylistic commonalities with other playwrights, including his passion for Catalan literature and language
Analysis of the dramatic work Antígona Vélez by Leopoldo Marechal in relation to the political and cultural context of the Peronism.
Antígona Vélez is a dramatic work written by Leopoldo Marechal in 1951 that rewrites Sophocles' Antigone to set it in the Argentine pampas at the founding period of the nation: the early 19th century. We understand that the play responds to Peronist ideals by taking a classical genre and making it accessible to the general public, democratizing access to what was considered high culture for the entire population. The play revisits the genre of Greek tragedy as well as nativist theater—a genre belonging to the working classes and with clear Argentine roots—while questioning the dichotomy of civilization or barbarism.
Institutionalization and patrimonialization of the performing arts in Argentina through public policies (1933-1955)
During the 1930s in Argentina, certain processes of organization, institutionalization, and bureaucratization of artistic and cultural activities took shape through state intervention, which became more complex and systematized in the following decade. This article studies the institutionalization and patrimonialization of the performing arts based on the cultural project of the National Culture Commission, focusing on the criteria and guidelines established for the creation of these entities and cultural formations that comprise it, with the aim of understanding the concept of historical performing arts heritage defined by this entity and the strategies for shaping the tradition of this artistic discipline. To this end, it analyzes the creation and operation of some of its institutions and artistic formations that had a significant impact on the performing arts of the time.
Scenographical Approaches to the Ubú of Els Joglars.Analysis of the Proposals by Fabià Puigserver and Albert Boadella
In the last quarter of the 20th century, the Catalan theatre company Els Joglars emerged as one of the most irreverent, controversial, and innovative forces in the Spanish performing arts scene. One of their proposals shook the Catalan society in the early 1980s, drawing both detractors and admirers in equal mesure: the idea of portraying the newly elected President de la Generalitat de Catalunya, Jordi Pujol, as the infamous King Ubu, the character by Alfred Jarry. This paper is based on a critical analysis of the stage designs by Fabià Puigserver and Albert Boadella for these productions in Operació Ubú (1981) and the later Ubú President (1995), respectively. Although both productions are based on similar texts, the scenic and stage design proposals were enormously different, each focusing on distinct dramaturgical aspects to achieve varied objectives and goals. Thus, this study aims to highlight Fabià Puigserver’s theatrical project and the role of scenography in constructing the meaning of a specific dramatical event.
Introducción: Renovación temática y expansión de la literatura dramática catalana actual
José Romera Castillo ed. Teatro y medicina en el primer cuarto del siglo XXI. Madrid: Verbum. 2024. ISBN: 978-84-1136-833-9. 616 pp.
Miguel Ángel Teijeiro Fuentes, José Roso Díaz eds. Nuevas luces sobre el teatro ibérico del siglo XVI, Valencia: Tirant Lo Blanc Humanidades. 2024. ISBN: 978-84-1183-641-8. 313 pp.
José Romera Castillo ed. Antonio Gala a escena, Vigo: Ediciones Invasoras. 2024. ISBN: 978-84-18885-85-3. 229 pp.
Fran Garcerá, Alejandro Coello Hernández y Alberto García-Aguilar eds. introducción y notas Al habla con Josefina de la Torre. Entrevistas, artículos y textos de una vida en la esfera pú
Mercedes de los Reyes Peña, María del Valle Ojeda Calvo y José Antonio Raynaud eds. trad. y notas El tutor. El viejo enamorado, de Juan de la Cueva. Sevilla
Gabriel Sansano ed. Tres segles de teatre barceloní. «El Principal» a través dels anys, de Josep Artís i Balaguer. Publicacions de la Universitat d’Alacant. 2024. ISBN: 978-84-9717-868-6. 632 p.
Bertolt Brecht and El Galpón. Soul, methods and resistance
Relevance of Bertolt Brecht stagings performed by the Institución Teatral El Galpón throughout her history is assessed in this article. Moreover, the impact of the stagings in the group’s development in terms of aesthetics, methods and discourse is reviewed.
Copyright (c) 2024 Talía. Revista de estudios teatrales
El honrado hermano by Lope de Vega: the greatness in defeat
This paper examines El honrado hermano, a historical comedy by Lope de Vega set in Ancient Rome, from the construction of its four main characters. Our analysis shows that the protagonist couple, who are part of the victors –the Romans Horatio and Flavia – do not fulfill the typical features of the gallant and the lady in Lope, but rather it is the rival couple – Curiacio and Flavia – who assume these characteristics as their own. It is concluded that this situation – which is already potentially present in the main source of the play, Titus Livy’s History of Rome – has to do with a political reading of the play: the past of Rome is dramatized from a heroic perspective, but the positive vision is assumed by the losers of the conflict: the people of Alba Longa. The recognition and assumption of the defeated is proposed as a condition for the development of the empire, a reading that can be projected to the creation of a collective Hispanic identity.
Of Rusty Bicycles and Out-of-Tune Pianos. Testimonial Objects in Contemporary Plays about the Spanish Civil War and the Francoist Dictatorship
Drawing on Marianne Hirsch’s concept of postmemory and a selection of studies on material memories of the 20th century political violence in Spain and Latin America, this article is interested in the role of testimonial objects in the intergenerational transmission of trauma caused by the Spanish Civil War and Francoist Spain. In particular, it examines the forms and functions of the witnesses’ former belongings in the theatre of memory. By focusing on three plays – Bagaje (1983) by Jerónimo López Mozo; Santa Perpetua (2010) by Laila Ripoll; and La armonía del silencio (2016) by Lola Blasco – the study explores theatre’s diverse possibilities to stage testimonial objects or, on the contrary, to mark their absence or latent state. The analysis also aims to delineate the potential of these objects to trigger acts of memory, affect the characters as well as influence dramatic action, time and space.
The Presence and Rewriting of Àngel’s Guimerà’s Work in Theatre, the Press, and Film in Argentina
During the lengthy period comprising 1894 to 1972, there was a wide diffusion of the work of Àngel Guimerà on stages, in the press, and on screens throughout Argentina. Apart from focusing on its implementation, this article presents several examples of transformations of Guimerà’s Terra baixa and the reappropriation of the text with various results within the political and social context of Argentina. Buenos Aires, a Latin American cultural metropolis, functioned as the melting pot of the American and the European routes for the internationalization of the Catalan play with the greatest international dissemination.
La Pilarcita, by María Marull: Magical Realism, Miracle, and Carnival on the Argentine Coast
In La Pilarcita, set on the Argentine coastline, María Marull explores the legend of a holy girl, Pilar Zaracho, and the cult that has been created around her miraculous powers. This article studies how the author combines in her text this popular celebration, which is attended annually by thousands of parishioners, with the region´s carnaval. Through a syncretic procedure, Marull achieves an interesting amalgamation, through the exploration of the Marvellous American Reality, in a text where she values the cultural heritage of a region and its identity.
An Anomalous Proposal for a National Theatre: The Case of Three Post-Revolutionary Playwrights: Amalia Caballero de Castillo Ledón, Concepción Sada, and María Luisa Ocampo
This essay presents three emblematic dramas written by Amalia Caballero de Castillo Ledón, Concepción Sada and María Luisa Ocampo in which anomalous female representations that go beyond the imposed norm. This dramaturgy contrasts with the revolutionary discourse that tried to imagine what was Mexican, what was national, as a unique and true product of the Mexican Revolution.
Between Christs and patterns: Sonority as a fissure affecting the embodied memory of Catholic Lihueimo
This article analyzes the sonorities generated by the parishioners of the rural town of Lihueimo, Chile, during the commemoration of the Holy Week ceremonies. We will investigate the sonorous and theatrical dimensions, which account for certain historical factors linked to the relationships of patronage and servitude in the locality, traceable through sources such as oral testimonies and press documents in the mid-twentieth century. This paper asks how these relations of subordination affect the sonorities and bodies of the faithful and how this affects their bodily memory.
October was Carnival: From the Crazy people’s party to the Party of those who are left over on the stage of the social revolt of October-19 in Chile
Given the recent and turbulent past of what happened in the so-called Social Outbreak, the following article will analyse, from a performative perspective, the historical and carnivalesque scenario of social unrest expressed in Chile during October 2019. With this we intend to address the evident crisis of representativeness of an agglomeration without a subject in its coefficient of revolt, insofar as it comprises a “repertoire” (Taylor, 2015) that has managed to be transmitted, despite all attempts of hegemonic repression, under various forms of festive expression of Chilean idiosyncrasy. This leads us to think about a displacement of historical-popular roots (that is, the once crazy people’s party, now the party of those who are left over) that would account for the materialities of possible social struggles not necessarily inscribed in a specific political sector. In this sense, we will review in a general way the theoretical discussion about carnival in Europe and Latin America and its political disruptive potential. Then, through a situated study we will reflect on the elements that reveal the scenario of the octobrist revolt, both in its full participation and in its attempt of analytical distancing.
Feminine identity and national and racial identity in the afro-feminist work No es país para negras by Silvia Albert Sopale
No es país para negras [2018] is a tragicomic one-woman show, co-written and performed by Silvia Albert Sopale, which narrates in the first person the life journey of a black woman born in Spain, in San Sebastián, in 1976. This self-referential journey through the life of the author herself, from childhood to adulthood, through adolescence and its questions, also includes the experiences of many Afro-descendant women, to highlight the identity tension that being an Afro-Spanish woman entails. The play constitutes a reflection on how Spanish society sees, or does not see, Afro-descendant women and how this view affects them in the difficult construction of their own identity, or rather in the expression of an identity in search of visibility. These women suffer both racism and sexism, a superposition of discrimination that can invite us to read and see the play from the perspective of intersectional feminism. Our objective will be to analyse how these two types of discrimination appear and combine in the situations evoked, and how Silvia Albert denounces them in her play.