Max Estrella Room

Room 4

This room at the first floor of the main house is named after circulating the «esperpento» period of the author.

This place contains the following self explanatory panels:

1. Ideology layer
2. Writing arts
3. A new theatre: «esperpento»
4. A playwright
5. Aesthetic ideas.

Summarized information of specific subject matters can be reviewed.

«Esperpento» genre in writing and theatre is brought to life by don Ramón del Valle-Inclán with Luces de bohemia (1920). A precise definition of this drastic writing style happens at the above character conversation between Max Estrella and don Latino de Híspalis. This tragic-grotesque reality approach, ─genuine Spanish according to Valle-Inclán─ is used in his work ever since.

«Classical heroes reflected at concave mirrors create «Esperpento». Spanish tragic life sense can only be portrait by a systematically twisted aesthetic. [...] beauty concave reflections turn nonsense. [...] Deformity stops when subject to mathematical order. My current aesthetics are to concave mirror classical pattern mathematically».

Ramón del Valle-Inclán, 1920

Furniture and collected items:

First

Main scenery are showcased suits designed for Las galas del difunto, La cabeza del Bautista, Ligazón y El Embrujado (1998), at Centro Dramático Galego, and suits for Luces de bohemia (1971) and Divinas palabras (1986) at Teatro Bellas Artes in Madrid.

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Secondly

Original and facsimile selected local facts and family documents are showcased.

First to the left, a beautiful edition of traditionalist ideology works, like the trilogy «Guerras Carlistas» (1908-1909), and Voces de gesta (1912); a postcard with a handwritten poem (1902) from don Ramón to Manuel Company; the memories excerpt from García Martí about Valle-Inclán attempt to Ateneo presidency election (1932); some letters from don Ramón to President Manuel Azaña (1935); an statement by the Galician nationalist party (Partido Galeguista) about Valle-Inclán decease (1936).

Secondly, at the center, main piece of the Valle-Inclán’s complete works focusing on the Opera Omnia collection (1913-1936), and others nice front editions, related to the third showcase to the right a collection of serials.

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Finally

Several art works are displayed. We highlight Don Ramón engraving (1919), by Moyá del Pino; a poster for Ligazón (1972), by Isaac Díaz Pardo; the scenery for Los cuernos de don Friolera, by Pepa Estrada (1976), naïf painter; a poster for Avareza, Luxuaria e Morte n´Area Ibérica (1976), designed by Conde Corral; the iconic Tirano Banderas (2001) and the brilliant Valle-Inclán (2006), work by Alfonso Costa.

Before leaving the room, let us watch the complete writer devoted ceramic collection from Sargadelos after Luís Seoane design, with Isaac Díaz Pardo or Bagaría; commemorative stamps and medals; specially don Ramón sculptures by Santiago Bonome (1935) and Francisco Toledo (1986), this one is quite popular due to a display by Círculo de Bellas Artes in Madrid at Paseo de Recoletos.

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