The object of this work is the Union of Catalan Dramatic Authors. In the preamble is what motivates the object of study: the lack of information on the subject, which focuses on the three pages that are dedicated to Francesc Curet in ingeneral history of Catalan Theatre; the reiteration of this information in the other scholars, without checking or refer the sources; the negative assessment of the performance of the Union, installed as the undisputed truth, that this is a failure (a commercial failure, political and social); the widespread idea that it is better to spend page or because you have no interest, or because it’s better to shut up so as not to end up speaking ill of anyone.
In the present work after an introductory chapter describes the gestation and the Constitution of the Union of authors and the Dramatic Theater two seasons which the Union operates as a Mixed company, first at the Teatro Eldorado which happens to be said Theatre in Catalonia, and then in the Spanish Theatre, located in parallel. In the middle of the first season one of the chapters will stop in the controversy through the press between one of the strong men of the Union, wells and farmer, which in this case acts as the spokesman, and a critic of the l’esquella de la Torratxa, Roman Jori. Also, by leaving the theater Eldorado Plaza Catalunya and the profusion of articles there is a balance. At the end of the second season, will point out the aftermath or the fringes that allow to understand the events that will follow. The exhibition closes with a chapter of conclusions that are nothing but a battery of questions that the analysis of the work has raised.
As it makes it difficult to tell the story in slices — as would say Coromines —, before entering in the field, you enter the theme highlighting the most important aspects that allow to understand the situation of Catalan Theatre in the beginning of the second decade of the 20th century. The coercive legal framework that takes into account the shows as a manifestation of the social entertainment constrained yields of theaters that are realigned towards the charity. Arbitrariness, the lack of State protection, governing the privatization must define well enough the functioning of Catalan theatre. But the Catalan regionalist movements, the formation of cultural and literary Renaissance, the, and, therefore, the search of the tradition that has a new challenges to society that industrialized forms a theater that needs to look both back and forward and that has been to adapt with a lot of speed to the changes. This explains that live styles, genres, concepts, theories and practices Theater even opposite. However, there are times when the tune with the public. We can talk about, well, a popular Catalan Theatre, which depends on the employers, and especially with a linguistic reality that turns too quickly due to factors of different migratory pressures, State repression (sign, away from taxation, so literary, philological and language standardization).
El Sindicat neix accidentalment a causa d’un conflicte entre Ignasi Iglésias i Ramon Franqueza, empresari del teatre Principal. Aquest empresari és a les envistes de Francesc Curet i, per tant, de tots els historiadors que en fan alguna referència, el causant de tots els mals del teatre català. Sense negar que Franqueza té un paper molt nefast en tot aquest episodi, adjudicar-li tota la responsabilitat es negar-se a entendre què va passar…
