Between denunciation and melodrama: Juan José and Joaquín Dicenta’s social theater
DOI:
https://doi.org/10.3989/revliteratura.2008.v70.i139.56Keywords:
Dicenta, Social drama, Melodrama, Juan José, Protest drama, ParodyAbstract
The present article is intended to carry out a measured analysis of Juan José as a popular dramatic phenomenon, as well as to determine to what extent this play drifts away from the «social drama» conception to fall within the melodramatic field. The reverse, however, has proved to be true with other works by Joaquín Dicenta: lacking in support from the audience and being largely neglected by the publishers, they manage to develop a deeper social commitment, as is the case of El señor feudal (1896) and, above all, Daniel (1907), which Dicenta himself considered the head of his dramatic production.
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