Abstract
WHEN ALEJANDRO CASONA began writing plays in the years immediately preceding the Spanish Civil War, his concept of theater was very much in tune with the times. As Adela Palacio has noted, "El teatro poetico de Casona respondia a gustos y exigencias, no solo espafioles, sino europeos." I As part of a widespread reaction against realism and naturalism in the theater, Casona emphasized the fantasies and illusions of his characters, thus creating a "double plane of reality and dream" that linked his works to those of Pirandello.' The possible literary relationship between Casona and the Italian playwright has been the subject of frequent critical discussion.' Not surprisingly, however, one may also find parallels between Casona's plays and those of other twentieth-century playwrights interested in similar themes. Some of these similarities are superficial, merely reflecting the Zeitgeist or the common impact of Pirandello, but in the case of the Russian Nikolai Evreinov, the influence on Casona may be direct.
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