Aitana Sánchez-Gijón stars in 'La malquerida', reviving Jacinto Benavente's classic. The play exposes family dysfunction and social pressures, while Sánchez-Gijón voices concern over youth prospects in Spain.
Aitana Sánchez-Gijón has reignited discussion about the challenges facing young people in Spain, linking their struggles to broader social and economic pressures. As she prepares to premiere 'La malquerida' in Madrid, Sánchez-Gijón draws attention to the difficulties many young Spaniards face, including precarious jobs, low wages, and inaccessible housing. Her remarks come as the country continues to debate the impact of economic systems on the younger generation.
'La malquerida', written by Jacinto Benavente, is once again in the spotlight as Sánchez-Gijón leads a national tour of the play. The production, which explores forbidden passions and family dysfunction, stands apart from Benavente's more conventional works. Sánchez-Gijón takes on the role of Raimunda, a widow who remarries and becomes entangled in a web of secrets and tragedy. The story centers on the murder of Acacia's fiancé, with suspicion falling on her stepfather Esteban, exposing deep-rooted issues within the family.
Sánchez-Gijón, who first performed in 'La malquerida' at 19, now returns to the stage as the mother, reflecting on the evolution of her career and the enduring relevance of the play's themes. She describes the work as a modern Greek tragedy, focusing on hidden desires, family secrets, and the consequences when truth emerges. The actress also questions the traditional role of the family, noting that while it should offer safety, it can become a source of danger and conflict.
In her view, societal expectations place a disproportionate burden on mothers, who are often expected to compensate for any paternal shortcomings. Sánchez-Gijón points out that these pressures are intensified by a patriarchal structure, making it difficult for women to escape the role of the primary caregiver. She emphasizes the importance of boundaries and reason in managing powerful emotions within families, warning of the damage that can result when these are absent.
The renewed interest in Benavente's work highlights a broader issue: despite being one of only five Spanish Nobel laureates in literature, his plays are rarely included in school curricula. While authors like Camilo José Cela and Juan Ramón Jiménez remain familiar to students, Benavente and José de Echegaray are often overlooked. This omission is notable given the continued relevance of their themes to contemporary Spanish society.
Recent cultural events in Madrid have underscored the ongoing debate about generational challenges and the role of the arts in reflecting social realities. The return of 'La malquerida' comes at a time when public figures are increasingly vocal about the obstacles facing young people. This trend echoes other high-profile moments in Spanish media, such as when Silvia Intxaurrondo's temporary departure from TVE's morning show sparked widespread discussion about career pressures and personal choices, as reported in coverage of her leave from TVE.
For context, Spain has a long tradition of using theatre to address social issues, with playwrights like Benavente shaping public discourse for over a century. The country's youth unemployment rate has consistently ranked among the highest in Europe, and access to affordable housing remains a persistent challenge. These factors contribute to the urgency of the conversations sparked by Sánchez-Gijón's comments and the renewed staging of 'La malquerida'.
