Eduardo Pérez-Rasilla Bayo

La memoria de nuestra historia reciente en el teatro español contemporáneo

Introduction

La memoria de nuestra historia reciente en el teatro español contemporáneo. Explora la memoria de la Guerra Civil española y sus efectos en el teatro español contemporáneo del siglo XXI. Analiza obras de dramaturgos actuales que subvierten el discurso hegemónico y rescatan la historia.

Abstract

  El artículo aborda el estudio de la memoria sobre la guerra civil española (y sus causas y consecuencias) en el teatro español del siglo XXI, singularmente, aunque no solo,  el teatro escrito por los dramaturgos nacidos en la década de los ochenta del siglo XX. Para ello se toman como referencia las reflexiones acerca de la memoria que han vertido algunos escritores e investigadores españoles que cultivan diferentes géneros: Sánchez Ferlosio, Reyes Mate, Rafael Chirbes, Marina Garcés, Sanchis Sinisterra, Angélica Liddell, Becerra Mayor o Moreno-Nuño. Inspirados casi todos ellos por el pensamiento de Benjamin, hablan de la necesidad de rescatar la memoria de los muertos y de la obligación de  subvertir el discurso hegemónico. Así, se examinan obras de La Tristura, Pablo Fidalgo, Lola Blasco, Violeta Gil, Antonio Rojano,  Lucía Carballal y Víctor Sánchez, Blanca Doménech, Pablo Remón, y también José Ramón Fernández y Carlos Marqueríe, entre otros, para  verificar cómo se produce ese tratamiento de la memoria en su obra dramática.

Review

This article proposes a timely and highly relevant investigation into the representation of memory concerning the Spanish Civil War, its origins, and repercussions, within 21st-century Spanish theatre. The study's particular emphasis on the dramatic works of playwrights born in the 1980s, while not exclusive, provides a crucial generational lens through which to examine evolving perspectives on Spain's fraught past. Given the continued societal and political debates surrounding historical memory in Spain, this research promises to shed significant light on how contemporary artistic expressions engage with and reconfigure collective narratives. The methodological approach appears robust, grounding its analysis in a sophisticated theoretical framework drawn from prominent Spanish writers and researchers such as Sánchez Ferlosio, Reyes Mate, and Rafael Chirbes. The abstract highlights a shared inspiration from Walter Benjamin, emphasizing the imperative to "rescue the memory of the dead" and to "subvert hegemonic discourse." This theoretical underpinning provides a strong conceptual anchor for the subsequent textual analysis. The article enumerates a diverse and impressive selection of playwrights and theatre companies—including La Tristura, Lola Blasco, Pablo Remón, and Carlos Marqueríe, among others—suggesting a comprehensive examination of how these core tenets of memory studies manifest in their dramatic output. Overall, the article presents itself as a valuable contribution to both Spanish theatre studies and the broader discourse on historical memory. By systematically exploring how these contemporary artists grapple with the traumatic legacies of the Civil War, the research has the potential to reveal new forms of remembrance and critical engagement with official histories. Its focus on a younger generation of playwrights is particularly commendable, offering fresh insights into how new voices are reinterpreting and presenting complex historical narratives for contemporary audiences. This study is poised to be an important reference for scholars interested in the intersection of performance, history, and memory in modern Spain.

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