LOPEZ RUBIO'S ALBERTO: CHARACTER REVELATION AND FORM

Abstract

THEATRICAL ACTIVITY IN SPAIN REMAINED CURTAILED DURING the decade that followed the end of the civil war in 1939. The finest of the younger dramatists, Federico Garcia Lorca, had been killed; the promising talent of Alejandro Casona was lost to the nation through exile. The aging Benavente continued to produce new plays of no exceptional interest, and several playwrights who had begun to write for the stage before or during the period of the republic resumed their careers. But the unfortunate state of the national economy, the imposed censorship, and the fear of any expression that might lend itself to unfavorable ideological interpretation were almost insurmountable obstacles to experimentation in form or the presentation of provocative themes.