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The Prince’s Theatre<\/strong> <\/span>(Spanish since 1850), restored in 1806 and with a capacity for 1,200 people, and the <\/span>theater of the Cruz<\/strong> <\/span>(of Drama since 1849), more popular and with a capacity of close to 1,250 spectators, were the only two consolidated stages that Madrid had until the inauguration of the <\/span>Circus or Opera Theatre<\/strong> <\/span>(1834). A ellos se sumar\u00eda el del <\/span>Liceo<\/strong> <\/span>(1838) and, shortly after, that of <\/span>Varieties<\/strong> <\/span>(1843). Todos eran propiedad del Ayuntamiento, que los arrendaba a un empresario, destinando parte de los beneficios a obras de caridad. <\/p>\n The performances lasted between three and eight days on average, with performances that usually lasted about four hours, including dances and farces. The repertoires included translations (almost 60%), remakes, operas, magic comedies, neoclassical comedies, etc., as well as romantic dramas in the proper sense. The actors were usually untrained, the costumes were anachronistic, the texts could be altered. However, the following stood out: <\/span>Carlos Latorre<\/strong>, <\/span>Juli\u00e1n Romea<\/strong> <\/span>and his wife, <\/span>Matilde D\u00edez<\/strong>, as well as <\/span>Concepci\u00f3n Rodr\u00edguez<\/strong> <\/span>or the sisters <\/span>B\u00e1rbara y Teodora Lamadrid.<\/strong><\/p>\n In the business field, the activity of <\/span>Juan Grimaldi<\/strong>.Arriving with the troops under the command of the duque de Angulema, Grimaldi soon became director of the Prince’s theatre, where he improved the working conditions of the actors and their training, also helping young authors. He also modernised the stage machinery, lighting and scenery with the help of specialists such as <\/span>Juan Blanchard<\/strong>, <\/span>Lucas Gandaglia<\/strong> <\/span>or <\/span>\u00c1ngel Palmerani<\/strong>.<\/p>\n A commission created in 1833, composed of <\/span>Quintana<\/strong>, <\/span>Mart\u00ednez de la Rosa<\/strong> <\/span>and <\/span>Lista<\/strong>, He unsuccessfully proposed to abolish ecclesiastical censorship and to organize a privately-funded theatre company. In 1847, a committee was organized to draft a decree that would regulate the rights of authors, actors and entrepreneurs, the reclassification of Madrid’s theatres and the creation of a state-owned and subsidized theatre, the Teatro Espa\u00f1ol, through the reorganization of the former Teatro del Pr\u00edncipe. That same year, <\/span>Hartzenbusch<\/strong> <\/span>founded the <\/span>Spanish Society of Dramatic Authors<\/strong>. It was not, however, until February 1849 when the reorganization of the kingdom’s theatres took place, a month before the decree of the Marquis of Santa Cruz was published, which established the creation of a <\/span>Teatro Espa\u00f1ol<\/strong>.<\/p>\n The impact generated in 1806 following the representation of <\/span>El s\u00ed de las ni\u00f1as<\/em>, the classic of <\/span>Leandro Fern\u00e1ndez de Morat\u00edn<\/strong> <\/span>(1760-1828), took a long time to fade away. Throughout the first half of the century, a huge number of works and authors followed in its successful wake and model, based on, on the one hand, respect for the classical rules of decorum, verisimilitude and moderation and, on the other, on its declared pedagogical attitude, motivated by the defence of virtue and the censure of vice, especially in matters related to youth, their education and their freedom. Many of the authors who later brought classics of romantic drama to the stage began in this same line. <\/p>\n Francisco Mart\u00ednez de la Rosa<\/strong> <\/span>(1787-1862), a precocious jurist at the University of Granada (at the age of 18 he was already a professor of Civil Law), was elected deputy for Granada in 1813. His skillful satire of political careerism, <\/span>!Lo que puede un empleo!<\/em> <\/span>(1812), was followed by <\/span>La ni\u00f1a en casa y la madre en la m\u00e1scara<\/em> <\/span>(1821)obviously Moratinian in tone and perfectly adapted to the neoclassical canon, in which he returned to the theme of youth education.<\/p>\n Francisco de Paul Mart\u00ed<\/strong> (<\/span>1762-1827) is another good representative of the Moratinian imprint, evident in<\/span> La Constituci\u00f3n vindicada<\/em> (<\/span>1813).<\/p>\n Fernando Jos\u00e9 Cagigal<\/strong> <\/span>(1765-1824)He was the author of several neoclassical comedies of manners, such as <\/span>El matrimonio tratado<\/em> <\/span>(1817),obvious imitation of <\/span>El s\u00ed de las ni\u00f1as<\/em>. Others, such as <\/span>La sociedad sin m\u00e1scara<\/em> <\/span>(1818), <\/span>La educaci\u00f3n<\/em> <\/span>(1818) or <\/span>Los perezosos<\/em> <\/span>(1819), They are nothing more than well-intentioned attempts at enlightened reform through the theatre, although without excessive literary quality.<\/p>\n Manuel Eduardo de Gorostiza<\/strong> <\/span>(1789-1851), an author halfway between the style of Morat\u00edn and that of Bret\u00f3n de Herreros, brought to the stage <\/span>Indulgencia para todos<\/em> <\/span>(1818), which was followed by <\/span>Don Dieguito<\/em> <\/span>(1820), a satire on fops, perhaps his best work. More circumstantial and adapted to the political demands of the moment, they are <\/span>Virtud y patriotismo o el 1\u00ba de enero de 1820<\/em> <\/span>(1821) or <\/span>Una noche de alarma en Madrid<\/em> <\/span>(1821).<\/p>\n Javier de Burgos<\/strong> <\/span>(1778-1849) It also follows the Moratinian schemes in <\/span>Los tres iguales<\/em> <\/span>(1818, but premiered in 1827), inspired by the works of the Spanish Golden Century, Antonio Gil y Z\u00e1rate<\/strong> (<\/span>1763-1861) is the author of some not overly notable comedies, such as<\/span> El entrometido o las m\u00e1scaras<\/em> (<\/span>1825),<\/span> Cuidado con los novios<\/em> (<\/span>1826),<\/span> Un a\u00f1o despu\u00e9s de la boda<\/em> (<\/span>1826) or<\/span> El d\u00eda m\u00e1s feliz de la vida<\/em> (<\/span>1832).<\/p>\n Eugenio de Tapia<\/strong> (<\/span>1776-1860) He is the author of two comedies of Moratinian affiliation,<\/span> La madrastra<\/em> (<\/span>1831) y<\/span> Amar desconfiando o la soltera suspicaz<\/em> (<\/span>1832).<\/p>\n Ventura de la Vega<\/strong> <\/span>(1807-1865), author of a first <\/span>Virtud y reconocimiento<\/em> <\/span>(1824), is best known for <\/span>El plan de un drama o la conspiraci\u00f3n<\/em> <\/span>(1835), written next to <\/span>Bret\u00f3n de Herreros<\/strong>, or by 1835 y 1836, or lo que es y lo que ser\u00e1 (1835), this one together with Grimaldi y Bret\u00f3n de Herreros. In any case, perhaps the most outstanding of his production is <\/span>El hombre de mundo<\/em> <\/span>(1845), in which, following Moratinian models and with scrupulous respect for classical rules, he paved the way for high comedy. A declared homage to his teacher Morat\u00edn was La cr\u00edtica de El s\u00ed de las ni\u00f1as (1848). <\/p>\n Jos\u00e9 de Espronceda<\/strong> (<\/span>1808-1842) wrote, together with Ros de Olano, the poorly constructed<\/span> Ni el t\u00edo ni el sobrino<\/em> (<\/span>1834), also in line with the works of<\/span> Leandro Fern\u00e1ndez de Morat\u00edn<\/strong>.<\/p>\n By<\/span> Jos\u00e9 Garc\u00eda Villalta<\/strong> (<\/span>1801-1846) is the not very successful comedy<\/span> Los amor\u00edos de 1790<\/em> (<\/span>1838).<\/p>\n Often confused with historical drama, neoclassical tragedy managed to survive until the 1860s. Along with translations of French and Italian tragedies, the production of dramatic works that still adhered to Aristotelian poetics was a constant under the reign of Ferdinand VII and even afterwards, while theorists discussed in various poetics the possibility of admitting or not drama, especially historical drama, as a genre independent of tragedy and comedy, especially with regard to the controversial question of unities. <\/p>\n \u00c1ngel de Saavedra, Duque de Rivas<\/strong> <\/span>(1791-1865) had an evolution that took him from the realm of tragedy to that of drama. His apprenticeship period began with works such as Ataulfo (1814) or Do\u00f1a Blanca, unfortunately lost. Although Aliatar (1816) already contains romantic elements (passion as a motive, an adverse destiny, irony), his sensitivity continued to move within classical parameters, as occurs with El duque de Aquitania (1817), by <\/span>Juan Eugenio Hartzenbuch<\/strong>.His evolution towards romanticism is more evident from Malek-Adhel (1818) y Lanuza (1822). <\/p>\n Francisco Mart\u00ednez de la Rosa<\/strong> <\/span>(1787-1862) He is the author of an interesting neoclassical tragedy, <\/span>La viuda de Padilla<\/em> <\/span>(1812), in which, however, some notable romantic elements can already be traced, such as the conflict between the sense of honour and the love of freedom that affects the heroine, the adverse destiny or the final suicide. Traits announcing the romantic, especially the bitter search for freedom, can also be observed in Morayma (1818, not premiered); in the very colourful Aben Humeya (1823); and, above all, in Edipo (1832), a work of clear transition to romanticism. <\/p>\n In<\/span> Jos\u00e9 de Espronceda<\/strong>‘s<\/span> production, his tragedy Blanca de Borb\u00f3n (1831) does not stand out precisely, with romantic elements, but still laxly respectful of the rules of the units.<\/p>\n Jos\u00e9 M\u00aa D\u00edaz<\/strong> (<\/span>1800-1888) was the author of the tragedy<\/span> Elvira de Albornoz<\/strong> (<\/span>1836), whose romantic ingredients disappeared in the later plays Julio C\u00e9sar (1843), Lucio Junio Bruto (1844), Catilina (1856) or Jeft\u00e9 (1845), the latter with a biblical theme. <\/p>\n <\/p>\n Antonio Gil y Z\u00e1rate<\/strong> (<\/span>1763-1861) wrote one of the best tragedies of the time,<\/span> Blanca de Borb\u00f3n <\/em>(<\/span>1829\/1835), which was more successful than his Don Rodrigo, which was never performed.<\/p>\n Patricio de la Escosura<\/strong> (<\/span>1807-1878) was the author of<\/span> La corte del buen retiro<\/em> (<\/span>1837) and also of<\/span> B\u00e1rbara Blomberg<\/em> (<\/span>1837), a work of transition to romanticism, due to its presentation of conflicts between duty and desire in a historical framework, although this did not lead him to alter the formal prescriptions of the prevailing classicism.<\/p>\n Jos\u00e9 Zorrilla<\/strong> (<\/span>1817-1893) also followed classical guidelines in two less striking tragedies,<\/span> Sancho Garc\u00eda<\/em> (<\/span>1842) and<\/span> Sofronia<\/em> (<\/span>1866).<\/p>\n Gertrudis G\u00f3mez de Avellaneda<\/strong> (<\/span>1814-1873) used the formal framework of classical tragedy to insert her personal religious romanticism in works such as<\/span> Alfonso Munio<\/em> (<\/span>1844), but above all in two others with a biblical theme:<\/span> Sa\u00fal <\/em>(1<\/span>849) and<\/span> Baltasar<\/em> (<\/span>1858).<\/p>\n Manuel Tamayo y Baus<\/strong> (<\/span>1829-1898) made a good attempt to modernize and adapt the formula of tragedy to the times in<\/span> Virginia <\/em>(<\/span>1853).<\/p>\n A vain attempt to oppose romantic aesthetics is<\/span> La Muerte de C\u00e9sar<\/em> (<\/span>1862), by<\/span> Ventura de la Vega <\/strong>(<\/span>1807-1865), traditionally considered the swan song of Spanish classical tragedy.<\/p>\n Spanish romantic drama is fundamentally nourished by innovations coming from Spanish baroque theatre, directly inspired by the Schlegellian vision of Calder\u00f3n’s theatre, which had been publicised by the B\u00f6hl de Faber, although also by more recent French dramaturgy, despite the deep nationalism – it is worth saying here Gallophobia – distilled in the programmatic assertions made by Agust\u00edn Dur\u00e1n in his widely disseminated <\/span>Speech<\/em> <\/span>(1828). La aceptaci\u00f3n de la radical historicidad de la obra literaria, su necesaria inserci\u00f3n en la continuidad secular de una tradici\u00f3n nacional, constitu\u00eda el centro de su novedoso planteamiento. Las obras que alumbraron los a\u00f1os 1834-1837 generaron, m\u00e1s que una f\u00f3rmula un\u00edvoca, una panoplia de recursos testados y aprobados. Entre ellos cabe se\u00f1alar, en lo formal, la asimetr\u00eda compositiva, la alternancia de prosa y verso, la b\u00fasqueda de la naturalidad expresiva o la fluida disposici\u00f3n de la trama en unidades esc\u00e9nicas. En el plano de los contenidos las claves del drama hist\u00f3rico han de buscarse, por un lado, en la caracterizaci\u00f3n psicol\u00f3gicamente m\u00e1s densa de los personajes heroicos, a menudo de oscura extracci\u00f3n social, frente a la rigidez social y moral de las figuras de autoridad, pero sobre todo en la tensi\u00f3n entre historia nacional y la actualidad de los conflictos que provocaban los emergentes nuevos valores, por lo general enfrentados a los expresados en el teatro cl\u00e1sico y a la convencional moral establecida. Son representativos de estas preocupaciones temas recurrentes, como los de la autoridad paterna o el contenido del honor, as\u00ed como el balance en la dicotom\u00eda verdad hist\u00f3rica\/verdad po\u00e9tica, que abr\u00edan v\u00eda libre a la introducci\u00f3n copiosa de elementos fant\u00e1sticos y hasta on\u00edricos procedentes de las exitosas comedias de magia. <\/p>\n It must be taken into account that the effectiveness of romantic drama in its basic objective of moving the public was based on the modes of reception that had been given to neoclassical theatre until then. Romantic dramas functioned, in fact, as inverted neoclassical melodramas. In them, despair, far from being compensated by a happy ending, was the payment for the vain illusion of an announced happiness, both in the personal field, in love; and in the political field, in the liberation of peoples. In romantic drama, the impact was based on denying the hero that which, however, the public, induced by the author, believed that he deserved. The tension was thus maintained by this game of constantly deferred and systematically unfulfilled promises, which reduced any search to desolation. The hero remains a hero, but the emotional and moral sequence he goes through is completely subverted with respect to the classic melodrama, as it ends with an ending that is all the more tragic because of the absurd injustice it implies. Irony then appears as the only residue left by Providence in its absence. <\/p>\n The characteristics of Spanish romantic drama are best condensed in historical drama, dominated by the reformulation of a past, not as it was supposed to have been in itself, but as a deliberate interpretation driven by the concerns of the present. On certain occasions this evocation of the past constituted a mere erudite exercise in style intended to serve as a framework for the central theme of the work. This occurred especially from the middle of the century, when historical drama, stripped of its initial commitments, became increasingly politically innocuous for hegemonic modernism, declining into a succession of erudite practices, despite the later attempts to revive the genre by Tamayo y Baus or L\u00f3pez de Ayala. <\/p>\n Francisco Mart\u00ednez de la Rosa<\/strong> <\/span>(1787-1862), an author of neoclassical training, a good connoisseur of Spanish Golden Century theatre, premiered on April 23, 1834 <\/span>La conjuraci\u00f3n de Venecia<\/em>, written a few years earlier (1830) and traditionally considered the first fully romantic drama in Spanish dramaturgy, had a lot to do with its grandiloquent settings and its melodramatic elements, derived from Gothic literature; but above all with that synthesis of elements that would be typical of romantic drama: the historical setting, the story of a failed love faced with political oppression and that pessimistic and ironic ending, which questions the very existence of a Providence that orders existence, to present a world abandoned by God, where the prayers of the protagonist, Laura, are ignored and Rugiero, the protagonist, is condemned to death by a cruel father. For this reason, the work is presented, in the opinion of many critics, as a great metaphor of the human condition, dominated by the failed search for freedom as the main theme of a work starring a prefiguration of the romantic hero, raised as a noble savage by pirates, that is to say outside of social conventions, by an innocent. <\/p>\n El Mac\u00edas<\/em> <\/span>(1834) by <\/span>Mariano Jos\u00e9 de Larra<\/strong>, critic and translator of some French dramas, is a work with a formal structure that is not very innovative, respectful of the classical units and based on the same traditional legend about a troubadour already dramatized by Lope de Vega in Porfiar hasta morir, which brought it closer to traditional recasts. <\/h3>\n
LATE CLASSICISM (EL TARDOCLASICISMO)<\/h3>\n
Neoclassical comedy<\/h4>\n
although adapted to neoclassical rules. It had less significance <\/span>El baile de m\u00e1scaras<\/em> <\/span>(1823).<\/p>\n<\/h4>\n
The neoclassical tragedy<\/h4>\n
<\/h2>\n
FULL ROMANTICISM<\/h3>\n
The romantic drama<\/h4>\n