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Los autos sacramentales gozaron durante el “primer franquismo” de una segunda epoca de esplendor relacionada con su poder propagandistico. Su conexion con el Imperio, su evocacion de un pasado glorioso y su exaltacion politico-religiosa los asociaban con las principales directrices de la ideologia nacionalcatolica imperante. Representados en distintos actos de la dictadura, algunos de ellos, como los decorados por el pintor Victor Cortezo, presentan caracteristicas controvertidas que pueden ser explicadas por su vinculo con una modernidad pocas veces planteada para el arte de ese periodo. Las creaciones de este artista ponen de relieve la capacidad transgresora de las artes escenicas dentro de la mas ferrea oficialidad de la dictadura franquista. The Autos sacramentales reached their second splendour period during the “first Francoism”, given their propagandist power. Their connections to the Empire, their evocation of a glorious past, and their political and religious resonances associated them with the prevailing National Catholicism. These were played in several of the dictatorship official acts, and some of them, such as those with sceneries created by painter Victor Cortezo, introduce some controversial features which have linked their art to a modernity which was rarely seen during this period. The painter’s creations also highlight the performing arts’ capacity of transgression within the strictness of the Franco dictatorship.

espacio, tiempo y forma. serie vii, historia del arte

Tradición, modernidad y transgresión en las artes escénicas españolas durante el franquismo: Víctor Cortezo y la escenografía de La cena del rey Baltasar (1939-1954) = Tradition, Modernity and Transgression during Francoism: Víctor Cortezo and the Scenography of La Cena del Rey Baltasar (1939-1945)