Jared S. White

The later phase of Valle-Inclán’s theatrical work (1920–27) radically shifts its representational focus from antiquated aristocracy to ruthlessly plebeian figures scattered throughout rural Spain at the turn of the century. These caustic depictions eventually culminate in the esperpento , a socially corrosive theatrical technique that poignantly portrays the economic, spiritual, and moral decadence of fin-de-siècle Spain. Grotesquely deformed in both shape and conduct, the characters that occupy the stage in Valle-Inclán’s later theater defy traditional modes of representation and have created significant interpretative challenges for directors, actors, and audience members. Further, censorship and public prohibition have compounded these problems, significantly delaying the premiere of these plays. This study will revisit Valle-Inclán’s later theatrical works, describing the inherent difficulties associated with their representation, and propose that such complications derive from a complex dialectic between the playwright’s incisive focus on societal decadence and his own society’s resistance to such depictions. From the farcical to the fanatical, I consider Valle-Inclán’s stubborn devotion to his evolving esperpento aesthetic, the prohibitive measures taken by the Spanish government to censor his plays, and the curious restrictions applied by Valle-Inclán himself, all of which have created a form of theater that resists representation.

Resumen: La última fase de las obras dramáticas de Valle-Inclán (1920–27) radicalmente cambia su enfoque representacional de una aristocracia anticuada a figuras despiadadamente plebeyas y esparcidas por la España rural durante el fin de siglo. Estas representaciones mordaces eventualmente culminan en el esperpento, una técnica teatral que deforma la sociedad y fatalmente figura la decadencia económica, espiritual y moral de España fin-de-siècle . Los personajes que ocupan el escenario durante la última fase del teatro de Valle-Inclán desafían los modos tradicionales de representación y han creado retos interpretativos muy significativos para directores, actores y el público. Además, la censura y prohibición pública han agravado estos problemas, dilatando el estreno de estas obras. Este estudio considera la última fase del teatro de Valle-Inclán al describir las dificultades inherentes de su representación y propone que estas complicaciones se derivan de una dialéctica compleja entre el enfoque del dramaturgo hacia la decadencia social y la resistencia de su propia sociedad de tales representaciones. De la farsa a lo fanático, considero la devoción de Valle-Inclán a la estética esperpéntica, las medidas prohibitivas del gobierno español para censurar sus obras y las restricciones implementadas por Valle-Inclán mismo, lo que resulta en un teatro que resiste representación.

Dragoncillo Puppet Troupe was established in 2018 by Esther Fernández, Jonathan Wade, Jared White, and Jason Yancey. A staging of The Fabulous Johnny Frog at the 2018 Association for Hispanic and Classical Theater’s (AHCT) yearly symposium marked their beginning as a troupe. This work, adapted by Yancey, focuses on the controversial Juan Rana character and was designed as an outreach initiative to bring early modern Spanish theater to schools using shadow puppetry. In 2019, Dragoncillo created a new performance for the Siglo de Oro Drama Festival and their community partners based on two entremeses written by Francisco de Quevedo. This essay details the formation of Dragoncillo Puppet Troupe and its early efforts to introduce early modern Hispanic literature and culture to various audiences across the United States. Furthermore, the essay reflects the process by which shows are conceived and staged and how those performances evolve over time. Finally, it imagines an expanded repertoire for the troupe that extends beyond the longstanding tradition of puppet theater in Spain to include other texts and contexts from Iberia and Latin America.

This article describes the unique experience White had as a graduate student of portraying Don Quijote in an adaptation of Las cortes de la muerte by Brigham Young University’s Spanish Golden Age Theater program. In the production, Don Quijote and Sancho stumble into the auto and adopt the roles of Hombre and Ángel, respectively. This unique combination brokers new intertextual possibilities that enhance the dramatic experience: as an everyman knight errant, Don Quijote’s literary identity folds into the religious character of Hombre; Sancho’s faithful companionship translates into Ángel’s constant camaraderie; and the auto’s glancing references to giants, disenchantments, and shepherds resonate with common themes explored throughout the Quijote.

Taking into account the historical development of the legend of La Cava, the daughter of Count Julián, I observe her metamorphosis from a silent figure, purely used as a narrative device during the medieval era, into a vocal, responsive, and willful character during the Siglo de Oro. Beginning with early medieval accounts, advancing through various romances, and culminating with her Golden Age appearance in Lope’s 1599 comedia, El postrer godo de España and Moreto's 1655 Baile entremesado del rey don Rodrigo y la Cava, I determine that her earlier, silent manifestations strongly parallel qualities of the subaltern, whereas her later forms evince a thoughtful, active, and thoroughly outspoken figure.

An investigative study into the meaning behind the proper name that takes off from don Juan's refusal to provide his identity to Isabella at the beginning of the Golden Age play, El burlador de Sevilla. In the article, I range over several theorists--Kripke, Soames, Nietzsche, and Camus--but chiefly use Deleuze and Guattari to explore the reasons behind don Juan's anonymity. I determine, in effect, that don Juan, by withholding his proper name, is able to traverse a theoretical line of flight, resist classification, and consequently achieve total seductive freedom.