La resignificación de los márgenes del teatro independiente: Oratorio, del Teatro Estudio Lebrijano

Abstract

Oratorio, by Alfonso Jiménez Romero and Teatro Estudio Lebrijano, is arguably among the most representative plays of 1970s Spain’s independent theater. This play experienced many changes and adjustments before it was staged in the Festival Mondial de Théâtre de Nancy in 1971. These changes were tested in performances in Andalusia before audiences with little exposure to theater but sympathizing with the play. By studying a production that developed for three years, this article challenges the claims that support a history of theater as a catalogue of finished products. This article aims at considering the creative process that emerges from the direct contact with audiences in performing spaces. Independent theater archives have limitations, but they are made up with oral histories from troupe members. This article studies both the incorporation of theatrical devices associated with ritual participation of the audience and the use of flamenco reassessed as protest music. The latter included in the play as an artistic device since the tour in Andalusia. This play made explicit references to the Spanish Civil War, which prompted physical reactions from the audience in towns where the repression was fierce.

KEYWORDS:

• Audience
• flamenco
• independent theater
• marginality
• Spanish Civil War

Notes

1 Todas las fotografías han sido cedidas por el Centro de Documentación de las Artes Escénicas de Andalucía (Agencia Andaluza de Instituciones Culturales, Consejería de Cultura de la Junta de Andalucía). Me gustaría agradecer a todo el personal del CDAEA, y en especial a María Jesús Bajo, Ana Brañas y Conso Martín, por las facilidades proporcionadas para la investigación de este artículo.

2 La letra de este mirabrás, un palo de tono menos solemne asociado con el baile, jugaba con el apellido Benjumea de los caciques y “bien humea”, de la leña incautada: “¡Qué bien jumea/ de Diego Vázquez, la chimenea,/ de otro es la leña;/ que quien quema lo suyo/ a nadie empeña” (cit. en Grimaldos 140).

3 Después del éxito de Nancy, Jiménez Romero escribe molesto a Bernabé y le pregunta “¿cuál es exactamente mi aportación a Oratorio?” A pesar de que reconoce que el grupo “ha conseguido un buen espectáculo con el que yo estoy de acuerdo”, se reivindica como el autor de la obra (Jiménez Romero, “Carta”).