Parodias españolas sobre Tannhäuser (1890)

Abstract

The parody is a form of expression that shows the influence of Wagner in Spain from multiple approaches, in which the imitation tends to possess a very rich tropological and often intertextual complexity. In this sense, and in a manner analogous to graphic humour in the periodical press, parody has the ability to synthesize complex issues on the stage, such as political events, social customs, etc., revealing itself as an inexhaustible source for the reconstruction of public opinion, mentalities and behaviours. Through it one can identify closely the most important issues and events in the history of a country, which the parodist treats in a tendentious way, this being one of the basic techniques to provoke laughter. In this mould are the zarzuela Tannhäuser el estanquero, and its continuation, Tannhäuser cesante, both of 1890 with lyrics by Eduardo Navarro Gonzalvo and music by Gerónimo Giménez; its background is a sharp satire of the take-turns system, characteristic of the Spanish policy during the Borbón Restoration. The basic objective of this chapter is to analyse both zarzuelas, appropriately explaining their complex tropological complexity, identifying their intertextual content (especially the Wagner’s quotations), determining the presence of common trends with other Spanish parodies and finally, studying its social impact through its reception in public and in press.