From Domestic Angels to Girl Power

AntonioBuero Vallejo (1916–2000) was a relentless critic of the Franco regime who commented on Spanish society in his theatre, both under Franco and after the dictator's death. With his activos and contemplativos, Buero created some of the greatest male characters in the Spanish theatre, and he captured the tragedy of a divided Spain by staging the dilemmas of individuals struggling to face both their own limitations and those imposed by society. Although Buero claimed that ‘la mitad mejor del género humano es la femenina’ (de Paco, 1987), the world of his dramas, like the society reflected within them, is a patriarchal one and his depiction of women, particularly in the early plays, was often both romanticized and stereotyped. Noteworthy, however, is the shift that takes place in his later works, which feature female characters who, rather than figures defined by their relationships with men, are more complex individuals, capable of independent thought and action. This article explores the changing portrayal of women in the works of one of the most important dramatists of twentieth-century Spain and comments on how Buero's plays capture the shifting status of women in Spanish society

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