The History of the Performance of American Drama in Spain, 1912-1977: Theatre as a Weapon Against Political Authoritarianism (3 Volume Set)

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This study traces the evolution and significance of American drama and theater in Spain between 1912 and 1977 offering fresh evidence how American theater clashed against a largely stale, xenophobic Spanish establishment. It explores how the meanings surrounding American productions were negotiated both on the stages and outside and how American drama has impacted Spanish theater by challenging the political status quo.


“Cultural exchange is a very complicated issue…as Dr. Romero explains in his illuminating study of American theater in Spain, even in our modern period of globalization, plays do not necessarily cross the Atlantic with speed nor are they readily accepted by directors, critics, audiences, and actors…There is a definite connection between socio-political reality and reception of a national theater in another country.”
-Professor Phyllis Zatlin,
Rutgers University, New Jersey

“The book chronicles the clash, often violent, sometimes sly and covert, between Spanish authoritarianism and the freedom epitomized by American drama. The book is more than simply a theatre survey or encyclopedia. It is solidly grounded in cultural studies that explain the Spanish political contexts around certain productions of how the USA propped up the Franco regime and the effect that had on American drama in Spain…[it] will become one of the standard resources for translational theatre research in the years to come.”
-Professor John S. Bak,
Université de Lorraine, France

“What emerges from this study, besides the rich documentation for future scholars, is a picture of changing political allegiances and a fascinating social role for a theatre foreign, yet paradoxically familiar, to Spain. Aesthetic consequences are also studied in detail and almost no Spanish playwright of note escapes mention within the broad context. The book supplies new insight into the work of unstudied or only partially studied directors, actors and theatrical personalities.”
-Professor John London,
Queen Mary University of London

Table of Contents

Foreword by Phyllis Zatlin
Author Introduction
Part One: The Beginnings of American Theater in Spain- The Fulton Years
Chapter 1. A General Overview of the Years 1912-1930
Chapter 2. The Earliest American Offerings and the Fulton Years
Chapter 3. The Mid to Late 1920s
Part Two. New Horizons: An Enhanced Awareness of American Drama, 1931-1951
Chapter 4. The Early Years
Chapter 5. The Civil War and Mark Twain
Chapter 6. Broadway Hits in the Spanish Postwar
Chapter 7. Canonical US Drama Throughout The Spanish Postwar
Chapter 8. American Drama on the Page, and Some Peculiar Endeavors
Part Three: Taming the Beast: The Golden Years of American Drama in Spain, 1952-1965
Chapter 9: Historical and Theatrical overview of the Period: Dismantling Autarky
Chapter 10. Arthur Miller in Spain. The Early Years
Chapter 11. Tennessee Williams
Chapter 12: Eugene O’Neill
Chapter 13: The Deluge of Broadway Hits, 1952-1965 (I). The Old Favorites
Chapter 14: The Deluge of Broadway Hits, 1952-1965 (II). The More Valuable Offerings
Chapter 15: The Deluge of Broadway Hits, 1952-1965 (III). The Pursuit of Entertainment
Chapter 16: The Other “Stages’ Chamber offerings and Publications, 1952-1965
Part Four: Hating To Love America / Loving To Hate America: The New Inroads of American Theater, 1966-1977
Chapter 17: Historical and Theatrical Survey of the period 1966-1977
Chapter 18: Familiar Plays and Playwrights: The Theatrical Inheritance
Chapter 19: New American Theater (I). Edward Albee, The Great White Promise?
Chapter 20: New American Theater (II). Enter the Tei (Teatro Experimental Independiente)
Chapter 21: New American Theater (II). The Living Theater and Other US Groups
Chapter 22: New American Theater (IV). The New Musicals and the Quest for Hair
Chapter 23: New American Theater (V). Other Glimpses of the New
Chapter 24: Broadway Offerings, Othering Mainstream American Drama
Chapter 25: American Theater on the Page
Part Four – Works Cited
Concluding Remarks

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