Ecos y patrones calderonianos en las vanguardias españolas

[Machine translation] For avant-garde authors of Spanish theater such as Valle-Inclán, Aub and Rivas Cherif, texts such as Life is a Dream, The Prodigious Wizard, the so-called dramas of honor, Eco and Narcissus, and sacramental cars, especially The Great Theater of the World, together with countless other ancient and modern literary references (that of Shakespeare in the first place), represent an inexhaustible source of stimuli and material suitable for their peculiar demonizations and parodic games. Equally true is that at this point the mention of a prince related to the subject of sleep is enough to evoke the archetype of Sigismund, often imbricated with that of Hamlet, and that this contributes significantly to the shaping of the characters in the cars, absurdities, dramas and farces of the great authors of the first decades of the 20th century. It is true that all the protagonists of pieces such as The Horns of Don Friolera, The Suspicious Prodigious, Narcissus, A Dream of Reason end up being assimilated rather to Don Roca del Pintor or to the mythical Narcissus because of their inability to overcome themselves and to reckon with the same reality of individual, ontological and socio-political crisis that their respective authors had to live through.