Antonio Vallejo Buero

Antonio Vallejo Buero Criticism

• Introduction
• Principal Works
• Criticism: General Commentary
  • Scandinavian Reminiscences in Antonio Buero Vallejo's Theater
  • Functional Flexibility and Ambiguity in Buero Vallejo's Plays
  • The History Plays: Buero Vallejo's Experiment in Dramatic Expression
  • The Role of Man and of Woman in Buero Vallejo's Plays
  • The Significance of Insanity in Four Plays by Antonio Buero Vallejo
  • The Defense of Buero Vallejo
  • Truth and Compassion: Aventura en lo gris and La maison de la nuit
  • Buero Vallejo—Good Mistresses and Bad Wives
  • Reality Perception and Stage Setting in Griselda Gámbaro's Las paredes and Antonio Buero Vallejo's La fundación.
  • Role Constraints versus Self-Identity in La tejedora de sueños and Anillos para una dama.
  • Projections of the Unconscious Self in Buero's Theatre: El Concierto de San Ovidio, La Fundación, Dialogo Secreto.
• En La Ardiente Oscuridad (In The Burning Darkness)
• The Role of Music in El Concierto De San Ovidio (The Concert Of Saint Ovide)
• Criticism: El Tragaluz (The Basement Window)
  • The Problem of National Reconciliation in Buero Vallejo's El Tragaluz
  • Buero Vallejo's El Tragaluz and Man's Existence in History
  • ‘Hoy ya no cameos en aquellos errores’: Mimetic Violence and Transcendence in Buero Vallejo's El Tragaluz
  • Derealizing the Present: Evasion and Madness in El tragaluz
• La Doble Historia Del Doctor Valmy
• The Painterly Vision of Buero Vallejo's El sueño de la razón
• Foundation: A Spaniard's Political Metaphor
• Tragedy and Politics in Jueces en la noche
• Further Reading