By Series edited by Herbert S. Klein By (author) David Thatcher Gies
The Frenchman Juan de Grimaldi was once instrumental within the improvement of the Spanish theatre within the 1820s and 30s, at a time while censorship, repression, and financial chaos had left it in a nation of stagnation. As impresario and degree director, he proficient actors within the new form of declamation, made actual adjustments in units and lights, translated fresh French performs into Spanish, and inspired the writing of unique Spanish performs. His personal magical comedy, los angeles Pata de Cabra (1829), used to be outstandingly winning. Grimaldi used to be additionally a prosperous businessman and newspaper editor, and the shopper of many very important Spanish Romantic writers. He was once lively in politics, vigorously protecting the reasonable rules of the Queen Regent, María Cristina, and of major Minister Ramón de Nerváez. Even after his go back to Paris, Grimaldi persevered to paintings secretly as an agent of the Spanish executive. in response to unique archival fabrics, this can be the 1st in-depth examine of Grimaldi's involvement within the literary and political development of nineteenth-century Spain.
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Additional info for Theatre and Politics in Nineteenth-Century Spain: Juan De Grimaldi as Impresario and Government Agent
Example text
Several meetings were needed to iron out the details of the arrangement and before any concrete decisions were made, Grimaldi, apparently seeing the direction in which things were moving, finally gave in and offered to accept the City Council's terms. OnJ uly 2 I , he confessed that both his honor ( " I cannot abandon a matter which has progressed this far so publicly" ) and pressure from the Duke of Angouleme and other high officials of the resident troops ("they all await the French theatre that I have offered them") obliged him to "make sacrifices" and to take over the theatres "under the conditions approved on the I 7 of this month.
But now, due either to poor administration of the account or negligence of the actors themselves, the account did not contain sufficient funds to cover those payments, so that pensioners, widows GRIMALDI AND T H E " O M I NOUS D E C A D E " 39 and orphans were paid out of current gate receipts. These costs reached, according to Grimaldi, 300,000 reales per year. What right, he asked, did these widows and orphans have in claiming money from the impresario? The money had not been used up by the theatre owners and he saw no reason why he, as impresario, should be penalized for that fact.
That year it was seen ten times at the Principe. Grimaldi had somewhat less success with the plays he introduced to Madrid's audiences during that I 82 3-4 season. Most of them had just a few performances, although one or two managed to remain in the repertory for most of the decade. The nine plays he introduced in the first season were: El tutor celosoy la lugarefia astuta (a reworking ofa Tirso play, first played on September 26 and managing ten performances during the decade);22 El celoso por fuerza (October I 4; one perform ance) ;23 El victor o el hijo de!
