Llorens Cubedo, Didac2024-10-032024-10-032021Llorens-Cubedo, D. Man of the Theatre: Stage Performances of T. S. Eliot’s Work in Spain (1949–2016). Neophilologus 105, 555–571 (2021). https://doi.org/10.1007/s11061-021-09696-41572-8668, 0028-2677https://doi.org/10.1007/s11061-021-09696-4https://hdl.handle.net/20.500.14468/23883The registered version of this article, first published in “Neophilologus 105, 555–57", is available online at the publisher's website: Springer, https://doi.org/10.1007/s11061-021-09696-4 La versión registrada de este artículo, publicado por primera vez en “CNeophilologus 105, 555–57", está disponible en línea en el sitio web del editor: Springer, https://doi.org/10.1007/s11061-021-09696-4T. S. Eliot’s presence in Spanish theatres has taken various forms. His verse drama enjoyed a relative popularity in the late 1940s and in the 1950s: Murder in the Cathedral, The Family Reunion and The Cocktail Party were staged by student and amateur groups, “chamber” companies and even a national theatre. Reviews were ambivalent, most of them finding fault with the plays’ poetic density as an impediment for performance. Although, as a conservative Anglo-Catholic, Eliot was a priori an unproblematic author for the Francoist establishment and its censorship, critics loyal to Spanish National Catholicism were uncomfortable with the tragic fatalism of The Family Reunion, or with the non-judgemental treatment of adultery in The Cocktail Party. When Eliot’s plays were losing their appeal from the late 1950s onwards, only Murder in the Cathedral was occasionally performed in Spain. More recently, intermedial transpositions and dramatizations of Eliot’s poetry have consolidated his image as a great influential poet whose drama is a rarity.eninfo:eu-repo/semantics/openAccess55 Historia::5505 Ciencias auxiliares de la historia::5505.10 FilologíaartículoT. S. Eliotdramastage productionsdramatised poetryreceptionSpain