Subject
Spanish drama -- 19th century Books
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Angel de Saavedra Rivas
Don Álvaro, o, La fuerza del Sino
"Don Álvaro, o, La fuerza del Sino" by duque de Angel de Saavedra Rivas is a play premiered in 1835. This landmark work of Spanish Romanticism follows the mysterious Don Álvaro, whose forbidden love for the aristocratic Leonor leads to a chain of fatal accidents. When a pistol discharges unexpectedly, killing her father, the lovers are torn apart and pursued by vengeance. Across Spain and Italy, Don Álvaro desperately seeks escape from his tragic fate, but death follows him relentlessly, claiming everyone he holds dear.
José Echegaray
The son of Don Juan an original drama in 3 acts inspired by the reading of Ibsen's work entitled 'Gengangere'
"The Son of Don Juan" by José Echegaray is a dramatic work in three acts, written in the late 19th century. This original drama explores the themes of inheritance, mental illness, and the legacy of the infamous character Don Juan through the experiences of his son, Lazarus. The thread of the narrative weaves a tale of familial ties mixed with the shadow of the father's notorious past. At the start of the play, we are introduced to an aging Don Juan, whose jovial facade begins to crack with self-reflective insights about aging and fatherhood. Surrounded by his companions, he whimsically reconciles his past as a libertine with the pride of having a son like Lazarus, whom he believes possesses great intellectual talent. Meanwhile, we see Lazarus struggle with his mental state amid the expectations and burdens that come with being the son of such a notorious figure, alongside his love for Carmen. The opening sets the stage for a complex interplay of relationships and societal expectations, suggesting deeper conflicts that will unfold as the drama progresses.
Leandro Fernández de Moratín
Comedias escogidas
"Comedias escogidas" by Leandro Fernández de Moratín and Molière is a collection of theatrical works written in the late 18th century to early 19th century. This anthology showcases the efforts of Moratín to revive and modernize Spanish theater, emphasizing the need for reforms in the dramatic arts through his comedies. It offers insight into the tensions between tradition and innovation in Spanish drama during Moratín's time, as he grapples with various societal and artistic challenges. The opening of the book presents an overview of Moratín's life and the tumultuous context in which he wrote. It reflects on the political instability of Spain during the reign of Charles IV, which influenced Moratín's career and literary output. Notably, it describes his aspirations to elevate Spanish theater by critiquing prevailing norms and advocating for a more refined, moral form of comedy. Moratín's personal struggles, including financial instability and societal opposition, are highlighted, setting the stage for understanding his dedication to transforming the theatrical landscape despite the obstacles he faced. This sets a compelling background for the comedies that follow, emphasizing Moratín's role as both a creator and a reformist in the realm of Spanish literature.
Joaquín Dicenta
Juan José: Drama en tres actos y en prosa
"Juan José: Drama en tres actos y en prosa" by Joaquín Dicenta is a three-act drama premiered in 1895, considered a work of social protest. Juan José and his friend Andrés work at a hacienda where the foreman Paco sets his sights on Juan José's partner Rosa. When conflict erupts, Juan José loses his job and turns to crime to survive, landing in prison. Meanwhile, the ambitious Rosa succumbs to Paco's seduction, setting in motion a desperate chain of events.
Víctor Balaguer
Las esposallas de la morta
"Las esposallas de la morta" by Víctor Balaguer is a dramatic work likely written in the late 19th century. This piece can be classified as a tragic play that draws inspiration from the timeless themes of love and fate, ultimately exploring the intense emotions and tragic consequences of forbidden love. It is set against a backdrop reminiscent of classic romances, specifically echoing the well-known story of Romeo and Juliet. The play centers around the doomed love affair between Julieta Capuletti and Romeu Monteschi, who are members of feuding families. The plot unfolds with their secret meetings and passionate exchanges, set amidst the tensions and violent rivalries that separate them. As the narrative progresses, tragedy strikes when Romeo is unwittingly drawn into conflict with Julieta's family, resulting in the death of her cousin Tybalt. In a desperate attempt to be together despite their families' enmity, Julieta fakes her own death using a narcotic provided by Friar Lawrence. However, the plan goes awry when Romeo, believing Julieta to be truly dead, takes his own life. When Julieta awakens and finds Romeo dead beside her, she too chooses to end her life, culminating in the heartbreaking message of the futility of their love amidst familial hatred.
Manuel Bretón de los Herreros
Marcela, o ¿a cuál de los tres? : $b Comedia original en tres actos
"Marcela, o ¿a cuál de los tres? : Comedia original en tres actos" by Don Manuel Bretón de los Herreros is a comedic play written in the early 19th century. It’s a sparkling social satire set in Madrid, where the witty young widow Marcela is courted by three very different men—an ardent but shy poet (Don Amadeo), a boastful artillery captain (Don Martín), and a foppish dandy (Don Agapito)—while her loquacious uncle and sharp-tongued maid complicate the game. The likely focus is a battle of manners, ego, and sincerity as Marcela weighs charm, substance, and freedom in choosing “which of the three.” The opening of the play sets the tone with rapid-fire banter and comic contrasts inside Marcela’s home. Don Timoteo bickers with the maid over his treasured nativity figures, while Don Agapito flatters Marcela with sweets and airs; Don Amadeo arrives to pine in verse and begs Juliana’s help; and Don Martín bursts in, swaggering and talkative. After a garden stroll and a shared meal, Agapito tries to extract a “te quiero,” but Marcela cleverly sends him away for confections and privately coaxes Amadeo’s feelings from a timid letrilla, only for Martín to interrupt with a loud declaration that is itself cut short by the household sensation: the cat Clitemnestra has given birth. Soon after, Amadeo and Martín agree to compete openly for Marcela and to thwart Agapito. At the start of the third act, Timoteo urges Marcela to remarry (hinting at Martín), and Marcela receives three written proposals: Agapito’s syrupy letter, Amadeo’s humble sonnet, and Martín’s bluntly comic plea; undecided, she summons them all to return later for her answer.
Manuel Bretón de los Herreros
Muérete ¡y verás...! : $b Comedia en cuatro actos
No description available.
José Echegaray
O locura o santidad : $b Drama en tres actos y en prosa
"O locura o santidad : Drama en tres actos y en prosa" by José Echegaray is a drama written in the late 19th century. Set in Madrid, it follows Don Lorenzo de Avendaño, a rigorously principled intellectual, whose daughter Inés loves Eduardo, son of the Duchess of Almonte. When the dying nurse Juana reveals that Lorenzo’s name and fortune are not truly his, he must choose between proclaiming a devastating truth or safeguarding his child’s happiness. The play tests honor, identity, and parental love to ask whether uncompromising virtue is sanctity—or madness. The opening of the play unfolds in Don Lorenzo’s study: after meditating on Don Quixote, he learns from Dr. Tomás that Inés’s fragile health hinges on a quick marriage to Eduardo, and he resolves to appeal to the Duchess. Inés rejoices, but the arrival of Juana brings a letter confessing that Lorenzo is not the biological son of his supposed parents and that his wealth is illegitimate; Juana, near death, reveals herself as his true mother. Overwhelmed, Lorenzo rejects the Duchess’s proposal, and Inés collapses. At the start of Act II, Eduardo presses his mother to consent and to hush the scandal while quietly restoring the fortune, Ángela urges silence for Inés’s sake, and Lorenzo—torn between duty and love—insists on declaring the whole truth even if it ruins them.
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