¡Sí! ¡Ver! Aunque sé que es imposible, ¡verI Aunque en este deseo se consuma estérilmente mi vida entera, ¡quiero ver! No puedo conformarme. Tense, engaging, uncomfortable at times, and with great dramatic timing and flow. His presence upsets the balance of the Centro and rocks those in it so profoundly that the fact that these characters are slipping inevitably towards some gross or tragic resolution becomes obvious early on. Ignacio, unlike the other students, is not content to accept his blindness and he mocks the other students for their happy complacency. All are friendly and the atmosphere of the center is upbeat until the arrival of Ignacio, the play's dark protagonist. The students at the center, older youths, are a pleasant bunch: Carlos, Elisa, Juana, and a half dozen others. Don Pablo, consequentially, is blind and Doña Pepita is not -this dynamic sets up many significant dialogues about love and sight and all the various analogies you can draw regarding the two, and there are many. The school is led by a director, Don Pablo, and his wife, Doña Pepita, who both follow a positive methodology in their instruction, teaching their students to approach life with joy despite their condition.
The plot of the play centers on a school for the blind (other geographic information is pointedly absent). This play was produced shortly after his release and is an interesting historical example for what it represents about this period in Spanish history and what Vallejo was able to sneak by the censors as he continued the artistic subversion that had already landed him in jail once. Importantly, Vallejo was imprisoned in Spain under the rule of dictator Francisco Franco. My language ability is decent, but there is enough Spanish slang and enough unfamiliar vocabulary to send me flipping back to the back pages to study the notes every few lines. This play by Spanish author Antonio Buero Vallejo was assigned in the Spanish conversation class I audited last semester and, to attempt to stay in my Professors good graces (despite being an auditing graduate student), I actually kept up with the readings. His works make frequent use of the symbolism of the senses-for example, using the "fiery darkness," in which the protagonist cannot see, as a symbol of Spain's dark situation. In the tragedies there is always a sense of hope for the future. In 1994 he was awarded the Gold Medal of Merit in Fine Arts and the Gold Medal of the Society of Authors of Spain.Ī common theme in his work is Spain's problems during and after Franco. In 1971, he was elected to the Royal Spanish Academy. While other authors left Spain to escape Franco's censorship, Vallejo stayed in Spain and used symbolism to criticize the government. This work presented a graphic picture of Spain after the Civil War and won the Lope de Vega Prize, establishing Vallejo as one of the foremost authors in Spain.
After being released he wrote Story of a Stairway in 1949. After the war he was imprisoned for six years. During the civil war, he served as a medical aid in the Republican army. From 1971 until his death he was a member of the Real Academia Española.įrom 1934 to 1936 Vallejo studied art and painting at San Fernando Escuela de Arte, in Madrid. During his career he won three National Theatre Prizes (in 1957, 1958 & 1959), a National Theatre Prize for all his career in 1980, the National Literature Prize in 1996, and the Miguel de Cervantes Prize, Spain's highest literary honour, in 1986. The other involves the tension of the visionary, the yearning for "light" and the belief in it which occasionally distinguishes the people of genuine religious feelings facing the material interests of the majority.Īntonio Buero Vallejo was a Spanish playwright considered the most important Spanish dramatist of the Spanish Civil War.
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One is the social relationship, a mixture of free and forced situations, which arestablished between a strong individuality whose reasoning and frustration conflict with the reasoning and passion of the community. Two aspects are set down as intentionally dominant within the plan of Buero Vallejo's work. Accordingly, the play must be understood as a sketch of the tragedy of man and his destiny, a problem which again is acquiring legitimacy and urgency, outstepping from the serious Spanish theatre studies into the surrounding reality.
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In the author's own words his play "aims to set down within a realistic framework, so necessary to the theatre, a nucleus of problems and passions involving man in general, and not blind people in particular." The physical blindness of the depicted characters is only a motive or pretext for presenting the limitations we all share as human beings.
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