The Evolution of Theatre in the Early 20th Century

The Theatre in the First Third of the Twentieth Century
The theater at this time can be divided into four stages: a regional theater for the Brotherhood of Speech, the avant-garde, and the time we are in.
Regional theater was represented by precedents of the Brotherhoods of Speech, which created the Regional School Declaration form for authors and promoted the production of playwrights. Works represented include The Bridge by Manuel Freire Lugros. The seats were made between two musical performances, which were brief and uneventful in terms of staging. The types of works were customary, where we highlight Avelino Rodrigues Elias, among others, and social issues, among which we highlight Jesus San Luis Romero.
At the time of the Brotherhoods, there were problems that hindered the development of drama, such as the lack of professional groups and competition with cinema. To tackle this, the Conservatory of National Galician Art was created. The theater of the Brotherhood split into three streams: the conservative, which follows the usual pattern, and social history. St. Louis highlights Jesus Romero, whose work was the most successful Gentleman, in which he shows his concern for social evils, and Javier Prado Lameiro, with works collected in volumes such as Monifates, which has a burlesque and comic character. In the current renewal, we highlight Júlio Dantas, with works such as The Hand of Santinha and The Marshal, and also Antón Vilar Ponte, with works such as Dead Souls. These two authors proposed a more modern and cultured theater. Finally, in the intermediate stage, we have included Armando Hill Valledor, who called his work areas, one being The Sea, and Leandro Carré Alvarellos, who, besides being a playwright, excelled as a storyteller, essayist, linguist, editor, and director of The Home. Among his pieces stand Tolerías to Live Well and Married.
The avant-garde theater was forced to coexist with the problems that this genre had already suffered. The principal author of this theater was Rafael Dieste, who avoided traditionalism and customs in his works. He also introduced the avant-garde in its aesthetics and productions. The most relevant creation was The Empty Window.
The authors of the theater group sought maturity and university-level stylization of all scenic elements. Vicente Risco is one of the featured authors, whose only work is the theatrical Clown d'El Rei, where he mixes legend and tragedy and presents a reflection on human conduct. We should also note Pedrayo Ramon Otero, whose works Mill reflect the small world of Portuguese rural society of the time, so critical, and Theater Masks, which follows a symbolist trend and exploits folklore.