Sexuality in the post-Francoist era: Los ochenta son nuestros by Ana Diosdado

Apstrakt

This article aims to analyse the representation of sexuality in the theatre of the post-Francoist era in Spain. After a general introduction to the topic based on articles by di Febo (1979), Castejón Bolea (2018), Morcillo (2010) and Santos Sánchez (2013 y 2016), we will compare the role of sexuality during the final years of Francoism and the subsequent phenomenon called “destape”. Furthermore, we will consider these differences in the work Los ochenta son nuestros (1988) by Ana Diosdado. To better appreciate the changes in this theatre play, we decided to compare it with another play by the same author: Olvida los tambores (1970). The primary goal is to examine how sexuality is portrayed in Los ochenta son nuestros and, secondly, to discern the differences in the representation of Olvida los tambores in Diosdado’s theatre during and after Francoism. We will observe that, despite the different plots, we can find compelling points in the representation of this topic, particularly regarding perspectives and generational differences: in this case specifically between the generation that lived its teenagehood and youth during the Francoist era and the one that lived these stages of life after the regime.