La Fundacion Antonio Buero Vallejo Epub 64
his caimn, a five-act, contemporary drama, was first produced at the teatro español de madrid on 23 january 1951. the play is divided into two acts: acto i and acto ii. in the first act, rosa asks nstor, “nstor, ¿quieres hacerme una pregunta?” (buero vallejo, buero. caimn. obra completa, edited by luis iglesias feijoo and mariano de paco, vol. 1, espasa calpe, 1994, p. 17185) (buero vallejo, caimn. 17185).
15. the stage directions make it clear that charito is not only the central figure of the play, but is also the source of its thematic development. charito embodies the female element of his family, which the male members are unable to define. (103) he is at once her husband and her lover. as the play progresses and the couple’s relationship becomes more turbulent, she is also a historical link between the past and the present. in the first act, for example, the character of the dama is reminiscent of the female characters in the play’s past, the domestic daughter of a spanish father, who rebelled against her father’s conservative ideas. in the second act, charito, disguised as a man, represents a contemporary version of the same character, who must play a dangerous and politically motivated role in the war that is being waged against spain, while simultaneously attempting to reintegrate her past in the present. the woman, who has internalized the patriarchal values of her father, cannot reconcile her own sense of morality with the values of her husband, who has internalized the values of the church. (132) charito’s self-sacrificing courage can be seen as a reaction to the constraints of traditional gender roles. she is the only character in the play who believes that a man and a woman can live together in peace. (133) it is in this struggle that buero vallejo’s critique of the spanish catholic church emerges.
For a statement of her proposal see Carolyn Welleck’s ‘A Reading of Buero’, The Journal of Hispanic Fiction and Literature, (1970-1976), 9 (1976), pp. 141-48. -graly, Caimn: 1998: p. 176 (the essay is actually about Buero Vallejo’s Libretos De Amor (1937), see final paragraph).
28. See Michael Borchert [Gill: ) ‘Bueros Conclusivismo y Consideraciones sobre la Forma y la Facultad de Existencia en La Fundación,’ in Buero, Valla y otros. Antologia del teatro español del siglo XX, ed. Michael Borchert (Cairns: Flinders University Publishing, 2014), p. 486.
Buero’s apparently definitive conclusion is that all the inhabitants of Daniel’s world are mad and that only the bells are sane. It is interesting to note that until then, Buero’s El tragaluz had not reached its conclusion. In fact, it is not clear that El tragaluz is a good play at all, because the ending is never fully achieved.
4. The following is a brief biographical sketch of Buero’s international career as a writer and scholar, which is important for the understanding of his Los dioses oscuros and La Fundacin (The Foundation). Danielle De Barros, Max Ernst, the Man Who Pretended to be God and Never Lied to You. New York and London: Abbeville Press, 2005, pp. 229. [Google Scholar] 21. Daniel Alarcón defines Enrique Dore’s The Unknown Way as a “classic play for the theater about the power of fantasy and its waywardness.” Alarcón describes Dios y Muerte (The God and the Death) as the first part of the trilogy of tales about “… a protagonist who refuses to accept the reality imposed on him by a dull, uncreative and insensitive god. ” Alarcón, Daniel. Alarcón, Daniel. El camino del poeta: la obra literaria de Enrique Dore. Buenos Aires, Argentina: Colección Facultad de Filosofia y Letras de la Universidad Nacional de Cuyo, 2010, pp. 183. [Google Scholar] [Web of Science ] and Muertos y vivos (The Dead and the Alive). Quoted from De Barros, Max Ernst, the Man Who Pretended to be God and Never Lied to You. New York and London: Abbeville Press, 2005, p. 13. [Google Scholar] 8300.