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At the beginning of the twentieth century, in a context of growing eroticization of culture, theatrical performances featured the first female nudes. This article aims to analyze how the female body was presented in these performances and the diversity of meanings derived from its exhibition. In order to do this, I will take as a reference one of the most successful literary works of the Spanish Second Republic, La pipa de oro, whose importance within the period lies in being the first performance to show a naked female breast on stage. From the intersection between social history, the history of sexuality and feminist theory, I will address the double reading that this issue raises: the perpetuation of the traditional role of the "woman as object" or her own liberation. The discursive examination of the script and the hemerographic analysis of its social impact will serve as complementary tools when it comes to addressing the duality of the problem. A comparative analysis of the two positions reveals that only in the light of their convergence, considering one as the consequence of the other, can we attempt to enact a global understanding of such complex phenomenon. [ABSTRACT FROM AUTHOR]

This article analyzes three costumbrist plays by Pilar Millán Astray, El juramento de la Primorosa (1924), Mademoiselle Naná (1928) y Los amores de la Nati (1931), to argue that they reveal some contradictions in their treatment of women, typical of the so-called Catholic feminism of that time. On one hand, the plays emphasize traditional values such as honor or virginity, kindness, patriotism and religious faith, but, on the other, they propose more liberal aspects such as strength, independence, paid work and the culpability of men who deceive women under false pretenses. Despite the focus on women's purity and happy endings, oftentimes too hastened, these plays convey a message in favor of women's freedom within the conservative social framework of that period. [ABSTRACT FROM AUTHOR]

The recuperation of "Ball parlat de Sant Joan", a work of the folk theatre, has been a real realization of the social awareness of heritage values that have the manifestations of popular culture in this village in the "Camp of Tarragona". An activity which has motivated the inhabitants of this village to ensure the recuperation, preservation and consolidation of the repertoire of their traditions, just as their singular "Ball Parlat", the singing of "goigs", the "caramelles" and the "pa beneït". These are the major signs of the collective identity of Rodonyà. [ABSTRACT FROM AUTHOR]

This article is an approach to Olors ('smells') (2000), a theater work by Josep M. Benet i Jornet, with the objective of analyzing the text from the scope of the function of fictional space in his writing and in his theatrical discourse: an analysis of the construction of the spatiality, taking into account the different levels of space action (macrospace, microspace, stage's space and latent space) and how these aspects are present in the text. It also examines the relationship between fiction and reality with respect to the image of Barcelona presented in the work, and the author's reflections on the close links between the urban identity of the inhabitants of a neighborhood undergoing transformation / destruction, based on individual, family and social memory. [ABSTRACT FROM AUTHOR]