Theatre and Politics: The Transition

In the years immediately prior to Franco's death, civil unrest in Spain had grown, and those demanding reform were supported by a large proportion of the population, including some members of the previously uncommitted bourgeoisie and also some Catholic clergy. When he died, many felt that it was time for a break with the past and a commitment to democracy. Nonetheless, despite expectations to the contrary, the transition from dictatorship to democracy was orchestrated from the right rather than imposed by the left. Although the transition to a more democratic form of government seemed to have been relatively smooth, it displeased many of the hard-liners of the old regime and caused some to suspect that the reactionaries might not remain silent. Buero Vallejo voiced his concerns in Jueces en la noche (1979) and again in 1983, when he wrote: ‘las fuerzas reaccionarias siguen poniendo abundantes obstáculos al proceso en marcha y amenazándolo con sus repetidos intentos de involución’ (O.C. II: 524).

There had been a gradual easing of censorship in the last few years of the Franco regime. However, there were occasional crackdowns and an increase in the number of silencios administrativos. Yet as Carr and Fusi point out:

Even some of those who had long supported Franco began to call for change; many of the more aperturista members of his governments were active in the process of transition.

The theatre became a site for ideological battle once again. Records in the Archivo General de la Administración show that the government in 1976 continued to monitor the theatre world closely.