Evolution of Street and Author Theater in Spain and Europe
The Rise of Street Theater
Street theater groups have proliferated as non-commercial and non-professional entities. This movement includes university, experimental, and amateur theaters. In this context, theater is conceived as a spectacle where the literary text becomes secondary or is sometimes minimized.
European Street Theater
Beginning in the 1950s, European street theater enhanced its leadership by utilizing unconventional spaces such as parks and suburban stations. Murdok Teatret in Denmark remains one of the best-known examples, featuring practitioners from various countries.
Spanish Street Theater Movements
Joglars: A Catalan group founded by Albert Boadella and Carlota Soldevila. This "emerging" stage develops theater from a single action, word, or gesture. Their thematic variety is evident in productions like El altar de las maravillas.
Els Comediants: Composed of actors, musicians, and artists, this group seeks to rescue the festive roots of theater. They believe any location is suitable for a performance and any item can be dramatic. They prioritize audience interaction, notably during the closing ceremony of the 1992 Barcelona Olympics.
Dagoll Dagom: A Catalan group that approaches theater with poetic interest, placing great importance on staging and music. Their work Mar i cel is particularly notable.
Other significant academic and urban groups include Tricicle, La Fura dels Baus, La Cuadra, Ditirambo, and Goliardos.
The Author Theater in Spain
Francisco Nieva: His work seeks new forms of representation. It is generally divided into a "theater of farce and calamity" (Teatro de farsa y calamidad) and a "furious underground theater" (Teatro furioso), exemplified by Nosferatu.
Fernando Fernán Gómez: With his work Las bicicletas son para el verano, he offers a tribute to postwar Spanish writers, characterized by its vitality rather than formal innovation.
José Sanchis Sinisterra: He views theater as an open field—a tool for questioning oneself and one's relationship with society. His play ¡Ay, Carmela! masterfully combines humor, culture, and stage fluency.
José Luis Alonso de Santos: His works confront contemporary reality through humor. One of his most famous plays is Bajarse al moro, a parody of society featuring characters defined by their distinct use of language.
Other Notable Authors
- Ana María Diosdado: Alesio
- Ignacio García May: A
- Paloma Pedrero: La llamada de Lauren
- Agustín García Calvo: La baraja del rey don Pedro
- Fermín Cabal: ¡Esta noche, gran velada!