Myth, Political Compromise, and Theatrical Innovation: Gloria Fuerte's "Prometeo"

Abstract

Spanish Women Writers have traced many innovation paths through 20^th Century. Among them, the recreation of classical myths outstands, as well as the contemporary revision of their characterizations. Gloria Fuertes (1917-1998) joined this mainstream with her interpretation of Prometheus, one of the most relevant Greek myths. Prometeo was premiered in Madrid, on the “Salón-teatro del Instituto de Cultura Hispánica” (January 30th, 1954), while celebrating the Cuban Week, an official program of Spanish-Cuban cultural cooperation. Her play is a clear example of thematic and technical innovations. Fuertes emphasizes the role of the punished titan for disobeying Zeus and giving fire to humankind. As Prometheus becomes a symbol of solidarity with the humble and needed people, Fuertes shows her social compromise, while pointing to the religious allegory of the “Savior”. Prometheus opposition to the tyrant Zeus marks the silent denounce of the political context of dictatorship under General Franco. Theatrical renovation is also defined by her using of several techniques –synthetic expression, reduction of characters, phantoms on stage, reversal of expectations and symbolic complexity- and, specially, her design of a main character silent through the whole representation. To the mute Prometheus, characterized only by gestures and movements, she opposes many rethorical figures of sound and the play’s orientation to music and dance.