Die Geschicke des "Don Juan Tenorio" in Barcelona: Skizze einer ignorierten Rezeption

Abstract

Against the common opinion that starting from Madrid (in 1844) José Zorilla’s Don Juan Tenorio began his triumph as an obligate and catharically cited play for All Soul’s Day soon after its premiere, its integration from 1847 onwards into the scenic ritual, that at that time had long since then been established in Barcelona, is documented here as well as its changeful development, that strongly differs from the development in Madrid, until it came to an end in 1974. This not only includes the many Spanish and especially Catalan theatre plays that derive from it and were represented alongside with it (variations, sequels, parodies, humoresques) but also its media utilisation for cinematographs, films and trivial reading (penny dreadful). The discussion accounts for cultural traditions, ideal positions and ethnopolitical and linguistic political attitudes as factors for the reception process.