Polifonía y corporeidad en Memoria de Virginia Rodero, ejemplo de un teatro de la memoria de mujeres

In contemporary Spanish theatre, a significant trend has taken hold: a theatre of women’s memory, framed within the broader process of recovering democratic memory. Numerous women playwrights, both established and emerging, have revisited Spain’s recent past, shedding light on the victims of Francoism—particularly women and children. This article analyses Memoria (Accésit Prize, Certamen Jóvenes Artistas Castilla y León 2017) by Segovian artist Virginia Rodero as a representative example of this trend. Written, directed, and performed by Rodero herself, the piece intertwines the story of a repressed Republican schoolteacher with a staging characterized by polyphony, intertextuality, minimalism, and corporeality. Through an intimate and symbolic language, the play reconstructs a collective memory from a non-dogmatic perspective. The analysis is based on the unpublished text and a recording of the performance staged at the Corral de Comedias in Alcalá de Henares in November 2019. Memoria is inscribed within an aesthetic of resistance, positioning itself as a performative act of recovery and intergenerational transmission of a silenced memory.