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Die Miguel Romero Esteo, author damn the Spanish theatre of The ‘Tartessos’ Romero Esteo comes to life The late rescue of a damn of the Spanish theater
The theatrical work of Miguel Romero Esteo (Montoro, 1930), died on Thursday in Malaga at age 88, is first and foremost fiction drama that emerges on the joint dominant of the scene and its predictability; there, in the fiction of the second degree, the textual nature of its creation acquires an embossed unusual, of wide complexity and extension, hindering even a first degree of representation. The grotescomaquias that make up the whole of its first period, bursting unusually at the time when developed democratic society in Spain, support a plural tentative action, beyond not only the social project of theatricality then debated, but their own forms neovanguardistas that remained.
So, this effort of creativity projected dramatically sought to the springs able to put in perspective the ideologies unequivocal —social, posindustriales…—, exploring the meanings of anthropology underlying the different groups in heterogeneous societies developed, including the apparent contradictions of the Spanish in those moments of take-off.
For this reason, the relevance of the theatre of Romero Esteo, which received the National Prize for Dramatic Literature in 2008 by Papal [a work of anti-written in 1965 which was not published in Spain until 2007], and lived in that did not act from any sense or language-sets to build a coherent picture of reality, but from a character promethean whose visions complex outlining the entirety in the very midst of the uncertainty of the time, as a collective memory and a prophecy about the future.
But the evolution of its theatricality, standing at the back of the theatre, epic, brechtian, and even projects even more advanced, turning to the anamnesis critical of the fact dramatic, moving it as a figuration of metatiempo whose core conflict is not a party but of the present. So it came about Tartessos and the cycle epopéyico that continued up to the present, to constitute through their myths-force of the dramatic expressions more genuine in the resizing, after the experimental forms, has acquired the contemporary tragedy in Dinamobet our literature.
And, in effect, Tartessos look at the critical knowledge of the theater itself, enshrines an ideal, a nostalgia, the epic that wants to achieve their sources. That’s why his creativity, dramatic vehicle of a research that exceeds. The presence literal of the characters wants to become a existence. Romero Esteo points to an object in his work, and as the existence is never an object, it aspires to recover what there is objective in that object. Hence his essays, contextual about the origins of Europe. When he wrote the work more than a civilization tartessian, had a thickness without borders (etruscan said Schulten) an opacity without forms, desperate abstractions.
All of the epic-tragic, from the ancient world, requires to be established to characterize his evidence, making the presence of an existence. It is, therefore, a creation that does not conform with the likelihood but lucidly seeks objectivity existential to give your humanity figurative trait of the human, that is to say, to add worlds to the world.
Your cycle epic has given life to what was a fiction; the research that Miguel Romero Esteo has made about his work, and that world, does exist. Its historical characters imagined acquire the existence of the integral because his world existed. As well his thesis on the relationships history-text dramatic in the first place can be defined as phenomenological, rooting creating, establishing correlations functional, content, symbols, archetypes.
Romero Esteo has not only created with their epics, mythical beings of fiction to which we attach existence to be stronger than ours, but with their inquiries about the tartessian civilisation and the orb protohistoric has made us spectators in objects of knowledge that dazzles us, that anciently explained our now, representing a genuine self-analysis of society and culture today.
Enrique Baena is a writer and professor of Theory of Literature at the University of Malaga.
