«In this remarkable study, Katrina Heil brilliantly highlights how Bueros plays serve as a medium for the Spanish audience to process traumatic memory and come to terms with the past. The book successfully offers a fresh perspective on Bueros theater, acknowledging his pivotal role as a precursor of historical memory activism during Francos dictatorship, while also shedding light on his enduring influence on contemporary dramatists of the twenty-first century.»
(Yenisei Montes de Oca, Associate Professor of Spanish, James Madison University)
This book explores Antonio Buero Vallejos use of the theater for historical memory activism and the role this function had in his formation as a tragedian. Bueros early tragedies counter the assumption that Spaniards have only recently taken up the issue of recuperating historical memory in order to process the collective trauma of the Spanish Civil War and Franco dictatorship. Bueros theory of tragedy, which combines an Unamunian existentialist conception of the tragic with an Aristotelian understanding of tragic catharsis, demands personal and historical authenticity while simultaneously allowing for the healing of trauma. While Bueros influence is rarely acknowledged in this regard, the legacy of Buerian tragedy as an ideal form of memoria histórica activism is seen in contemporary Civil War tragedies, which are appearing with increased frequency on the Spanish stage alongside the growth of the historical memory movement in Spanish culture and politics.
Contents: Introduction: Antonio Buero Vallejos Advocacy for Preserving
Historical Memory Bueros Tragic Sense of Life: Historical and Existential
Authenticity Bueros Tragedy of Hope: A Recipe for Recovery from Trauma
The Official Story: Personal and Historical Authenticity in Two Early Buerian
Tragedies A Lasting Legacy: Traces of Buero in Contemporary Historical
Memory Tragedies Conclusion: Antonio Buero Vallejos Tragedy of Historical
Memory.
Katrina M. Heil is Associate Professor of Spanish at East Tennessee State University, where she has taught for fifteen years and served as Assistant Chair for Foreign Languages and Spanish Coordinator. Her area of specialization is twentieth-century Peninsular theater. Her scholarly work focuses on modern tragedy and the role of performance in addressing the negative effects of shared traumatic history. She teaches a broad variety of undergraduate and graduate courses in Spanish language, grammar, and literature. She also serves on the Executive Committee of the Mountain Interstate Foreign Language Association, dedicated to the advancement of literary, linguistic, and pedagogical scholarship in foreign languages.
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