As García Lorca attests and Antonio Gala attests, “the poet alone has the key to the theatre.” He expressed his toughness about life and his need to know how to make people laugh and laugh. To know how to cry And to say goodbye. He said this and left with his subtle, brilliant, and emphatic language, and the sophistication of a passionate person who assured in 2001: “Man has come a long way in science and technology, but has almost gone backwards mentally and morally.” This can now be said more precisely.
Gala was and continues to be a “comprehensive anarchist” and an always opposed intellectual with an immediate, critical eye for self-expression. In 2011 he demonstrated his agreement with the 15M movement and its desire to change the social model. Because anger by itself leads nowhere. You see what the landscape is like right now.
The poet and writer, who has a vast culture, fine tastes and many awards, said that he is not gay. “It is something that is applied, not as it is.” He admitted that women are the most interesting, complete, and generous people. That’s why he created wonderful female characters in his literary and theatrical production.
He is a representative of a theater for a large audience, bursting onto the stage with the drama Los verdes campos del Eden (1963), played by José Bódalo. The tragicomic and symbolic mood questions where we belong.
Or the huge commercial success of Rings for a Lady (1973), a Spanish story with widow Jimena, at the dawn of the 12th century, two years after El Cid’s death. It has reached more than a thousand performances. They starred in the play María Asquerino and then Amparo Rivelles. I remember Carmina Pacheco’s wonderful interpretation in one of the editions of the Alicante a Escena cycle in the Lo Morant Park amphitheater.
Why are you running, Ulysses? (1974) began the tentative phase of emergence in the theater of the democratic transition with Victoria Vera. It’s a big scandal. It evokes the Greek epic Odyssey with the woman giving up herself for the benefit of the man’s impositions, something that continues to kick in, albeit less.
The allegorical piece Petra Regalada (1980) features a prostitute’s revolt in the Spanish countryside with Julia Gutiérrez Caba. That same year, she premiered La vieja señorita del Paraíso, interpreted by Mary Carrillo and later replaced by Irene Gutiérrez Caba. Loneliness, waiting and defending freedom in a world of pain that does not change deep inside.
The hymn of brotherhood, solidarity and love without prejudice is Samarkanda (1985), one of the actors of whom is Juan Gea. And in defense of nature, in addition to other works such as Carmen, Carmen (1988), based on Prosper Mérimée’s popular romance novel with the smoking girl. A musical presented by Concha Velasco as he struggles against heartbreak and insecurity that pays homage to this Spanish legend.
Antonio Gala’s poetic language impregnates everything written, trying to critically reflect contemporary reality. He is not recognized as an innovator and has not always been critically acclaimed. As a playwright, he stands between the so-called “realistic generation” and the so-called “new Spanish theatre”. This generation of Spanish writers includes those who began to debut in the 50s and advocate existential realism or psychological realism. We include Buero Vallejo, Alfonso Sastre and others. With regard to this new theatre, it welcomes those who advocate an open and experimental art that began in the 60s and in line with avant-garde movements or other trends.
Many readers and viewers of Gala remained loyal to her. He’s gone to see Lorca, but he’s also staying with us, especially if his nearly disguised figure is revealed and he gets the necessary projection once again.