Abstract Oratorio, by Alfonso Jiménez Romero and Teatro Estudio Lebrijano, is arguably among the most representative plays of 1970s Spain’s independent theater. This play experienced many changes and adjustments before it was staged in the Festival Mondial de Théâtre de Nancy in 1971. These changes were tested in performances in Andalusia before audiences with little exposure to theater but sympathizing with the play. By studying a production that developed for three years, this article challenges the claims that support a history of theater as a catalogue of finished products. This article aims at considering the creative process that emerges from the direct contact with audiences in performing spaces. Independent theater archives have limitations, but they are made up with oral histories from troupe members. This article studies both the incorporation of theatrical devices associated with ritual participation of the audience and the use of flamenco reassessed as protest music. The latter included in the play as an artistic device since the tour in Andalusia. This play made explicit references to the Spanish Civil War, which prompted physical reactions from the audience in towns where the repression was fierce.

中文翻译：

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La resignificación de los márgenes del Teatro independiente: 清唱剧, del Teatro Estudio Lebrijano

由阿方索·希门尼斯·罗梅罗 (Alfonso Jiménez Romero) 和 Teatro Estudio Lebrijano 创作的抽象清唱剧可以说是 1970 年代西班牙独立剧院最具代表性的戏剧之一。这部剧在1971年南锡世界剧院上演之前经历了许多变化和调整。这些变化在安达卢西亚的演出中得到了检验，观众对戏剧的接触很少，但对这出戏产生了共鸣。通过研究开发了三年的作品，本文挑战了将戏剧历史作为成品目录的说法。本文旨在考虑在表演空间中与观众直接接触所产生的创作过程。独立剧院档案有局限性，但它们是由剧团成员的口述历史组成的。本文研究了与观众参与仪式相关的戏剧装置的结合以及重新评估为抗议音乐的弗拉门戈的使用。后者在安达卢西亚巡回演出后作为一种艺术手段出现在剧中。这部戏剧明确提到了西班牙内战，这在镇压激烈的城镇引起了观众的身体反应。