Antonio Vallejo Buero Criticism: General Commentary - Essay

Robert E. Lott (essay date autumn 1965)

(Drama Criticism)

SOURCE: Lott, Robert E. “Scandinavian Reminiscences in Antonio Buero Vallejo's Theater.” Romance Notes VII, no. 1 (autumn 1965): 113-16.

[In the following essay, Lott finds similarities between Buero Vallejo's and Henrik Ibsen's treatment of family tension and bickering in their work.]

When Antonio Buero Vallejo's Las cartas boca abajo was first performed in Madrid in 1957, Felipe Bernardos correctly pointed out that the most obvious precedent for the role of Anita, the supposedly mute sister of Adela, was Miss Y (Amelie) of Strindberg's The Stronger.1 Both Miss Y and Anita are silent throughout, relying solely on action and gesture, and at...

(The entire section is 1153 words.)

Robert E. Lott (essay date summer 1966)

(Drama Criticism)

SOURCE: Lott, Robert E. “Functional Flexibility and Ambiguity in Buero Vallejo's Plays.” Symposium XX, no. 2 (summer 1966): 150-62.

[In the following essay, Lott defines Buero Vallejo's term “functional flexibility” in relation to his work and attempts to classify the playwright's dramatic oeuvre.]

Antonio Buero Vallejo has rightly decried attempts to classify his plays according to the direct and realistic method represented by Historia de una escalera and, presumably, Hoy es fiesta, or the speculative, symbolic, or imaginative manner of most of his other works.1 He says that En la ardiente oscuridad is different from both...

(The entire section is 6060 words.)

Robert L. Nicholas (essay date April 1969)

(Drama Criticism)

SOURCE: Nicholas, Robert L. “The History Plays: Buero Vallejo's Experiment in Dramatic Expression.” Revista de Estudios Hispánicos II, no. 1 (April 1969): 281-93.

[In the following essay, Nicholas considers the intrinsic artistic merit of Un soñador para un pueblo and Las Meninas, asserting that Buero Vallejo was “attempting to approximate, in the plays' structures, the spirit of the historical moment depicted in each play.”]

Un soñador para un pueblo (1958) and Las Meninas (1960) constitute something of a digression in the career of Antonio Buero Vallejo. They are preceded by ten years of largely realistic playwriting and...

(The entire section is 4007 words.)

William Giuliano (essay date May 1970)

(Drama Criticism)

SOURCE: Giuliano, William. “The Role of Man and of Woman in Buero Vallejo's Plays.” Hispanofila 39 (May 1970): 21-8.

[In the following essay, Giuliano discusses how Buero Vallejo's male and female characters exemplify the underlying thematic concerns of his plays.]

The underlying theme of Buero Vallejo's plays is unquestionably man's efforts to realize his full capacities against the internal and external forces that restrain him. These efforts are directed toward the search for truth, the essence of reality, the creation of social justice, the attempt to establish personal, political, and artistic freedom, and other aspects of the human condition.1 Hope...

(The entire section is 3551 words.)

Kenneth Brown (essay date May 1974)

(Drama Criticism)

SOURCE: Brown, Kenneth. “The Significance of Insanity in Four Plays by Antonio Buero Vallejo.” Revista de Estudios Hispánicos VIII, no. 2 (May 1974): 247-60.

[In the following essay, Brown explores the function of mentally ill characters in four of Buero Vallejo's plays.]

Eloy, in Mito; Goya, in El sueño de la razón; Irene, in Irene o el tesoro; and the Father, in El tragaluz are all characterized as mentally unsound. In Mito, Eloy is “El pobre [que] sueña en fantasmas.”1 He readily admits to being in contact with Martians in flying saucers, and these so-called hallucinations earn for him the title of...

(The entire section is 4136 words.)

William Giuliano (essay date June 1977)

(Drama Criticism)

SOURCE: Giuliano, William. “The Defense of Buero Vallejo.” Modern Drama XX, no. 2 (June 1977): 223-33.

[In the following essay, Giuliano traces the critical reaction to Buero Vallejo's career and attempts to revive the dramatist's reputation.]

Today's heroes are sometimes tomorrow's villains, and unfortunately, to a limited extent, that is the unhappy lot of Antonio Buero Vallejo,1 whose play Historia de una escalera (Story of a Staircase) in 1949 injected new life into the stagnant Spanish theater and inspired many young dramatists to write serious plays, directly or indirectly criticizing the political, social, and economic policies of...

(The entire section is 4712 words.)

Ida Molina (essay date May 1978)

(Drama Criticism)

SOURCE: Molina, Ida. “Truth and Compassion: Aventura en lo gris and La maison de la nuit.Revista de Estudios Hispánicos XII, no. 2 (May 1978): 217-25.

[In the following essay, Molina compares the relationship of truth and compassion in Aventura en lo gris and Thierry Maulnier's La maison de la nuit.]

The central theme of both Buero Vallejo's Aventura en lo gris and Thierry Maulnier's La maison de la nuit deals with the question of the relative value of truth.1 Of the many possible aspects of this theme, the authors concentrate on the general relationship between truth and compassion. A fanatical pursuit of truth at...

(The entire section is 2439 words.)

John A. Moore (essay date fall 1980)

(Drama Criticism)

SOURCE: Moore, John A. “Buero Vallejo—Good Mistresses and Bad Wives.” Romance Notes XXI, no. 1 (fall 1980): 10-15.

[In the following essay, Moore examines the portrayal of mistresses and wives in several Buero Vallejo plays.]

Anyone acquainted with Antonio Buero Vallejo as man or dramatist knows that he is a highly moral writer, but a peculiar turn of circumstances has caused him to write a series of plays with mistresses who uphold standards of conduct which command respect or sympathy from the audience while other plays picture wives who are presented as shallow selfish women. In this article I would like to develop this anomaly and seek a plausible...

(The entire section is 2159 words.)

Peter L. Podol (essay date March 1981)

(Drama Criticism)

SOURCE: Podol, Peter L. “Reality Perception and Stage Setting in Griselda Gámbaro's Las paredes and Antonio Buero Vallejo's La fundación.Modern Drama XXIV, no. 1 (March 1981): 44-53.

[In the following essay, Podol considers the relationship between the stage settings and the portrayal of reality in La fundación and Griselda Gámbaro's Las paredes.]

In his introduction to the book Encounter with Reality, John Horrocks makes the following observation: “To a large degree, man can control reality—even as he can create, he can destroy, and sometimes he is defenseless, and reality can be imposed upon him. But of all man's activities,...

(The entire section is 5026 words.)

Elizabeth S. Rogers (essay date September 1983)

(Drama Criticism)

SOURCE: Rogers, Elizabeth S. “Role Constraints versus Self-Identity in La tejedora de sueños and Anillos para una dama.Modern Drama XXVI, no. 3 (September 1983): 310-19.

[In the following essay, Rogers finds parallels between the female protagonists of La tejedora de sueños and Antonio Gala's Anillos para una dama, asserting that both women “experience the dual conflict of coping with both the external demands of their roles and the personal needs for self-identity, freedom, and self-fulfillment as human beings and as women.”]

“I was attracted to Penelope as an image because I had always believed her situation as the wife of...

(The entire section is 4691 words.)

John P. Gabriel (essay date April 1994)

(Drama Criticism)

SOURCE: Gabriel, John P. “Projections of the Unconscious Self in Buero's Theatre: El Concierto de San Ovidio, La Fundación, Dialogo Secreto.Neophilologus LXXVIII, no. 2 (April 1994): 351-61.

[In the following essay, Gabriel investigates psychological aspects of El concierto de San Ovidio, La Fundación, and Diálogo secreto and explores the implication of these elements for Buero Vallejo's work.]

In their symbolic journey from darkness to light, the protagonists of Antonio Buero Vallejo's theatre take part in a dynamic evolution of self that underscores their unyielding desire to rebel against and overcome limitations thrust upon them by...

(The entire section is 5447 words.)