Carlos Arniches

Carlos Arniches Barrera (Alicante, October 11, 1866-Madrid, April 16, 1943) was a Spanish playwright of the generation of '98. all as a painter of the popular environments of Madrid, whose cocky and traditional language he was able to recreate in an inimitable way, inspired by the zarzuela and the theater for hours of the century XIX.

Biography

Caricatured by Tovar (1916)

Born in Alicante in 1866 into a modest family (his father was an employee in a tobacco factory), in 1880 he moved with his parents to Barcelona. In 1885 he went to Madrid and began to study law.

In 1894, he married Pilar Moltó, with whom he had five children, including Carlos Arniches Moltó, an architect. In 1936 he left Spain and moved to Buenos Aires. He returns to Spain in 1940, after the civil war. He died in 1943 at his home on Calle Monte Esquinza, 14 (Madrid), where a commemorative plaque remembers him.

The peculiar characters from Madrid in his theater are always interpreted speaking in a very characteristic way and with the syllable cut out, despite the fact that the author's intention was to caricature that cheap Madridism that, without However, he knew how to distill so well.

He collected some of his sketches in Del Madrid castizo and created a new comic genre that he called grotesque tragedy, where he expressed his social and regenerationist concerns; In the words of the same author, he aspired "to stimulate the generous conditions of the people and make their bad instincts hateful, nothing more."

Especially noteworthy is Es mi hombre (1921), a satire on machismo, and La señorita de Trevélez (1916), where he criticizes the idle and unemployed bourgeois youth, who with his cruel jokes does not take into consideration the feelings of others.

In politics, he was a member of Carlism and in 1910 he was a candidate for deputy to Cortes, but he failed to obtain a seat.

Work

Complete Works

Poems

• «A Zorrilla», Zorrilla Tribute by the Barca Calderon Society. Alicante, 1893.
• «A mortal sin», in Madrid. Madrid, 1-IV-1893.
• "Who was Chinese!" Madrid. Madrid, 15-IV-1893.
• [Poem], The Herald of Madrid. Madrid, 18-IX-1894.
• "Don't put your face on him" Old people. Madrid, 20-II-1901.

Theater

Alcalá's uncle (zarzuela, 1906).

• Editorial House (1888, with Gonzalo Cantó Vilaplana)
• The naked truth (1888, with Gonzalo Cantó Vilaplana and Apolinar Brull Ayerra)
• The handles (1888, with Gonzalo Cantó Vilaplana)
• Orthography (1888, with Gonzalo Cantó Vilaplana)
• The fire of San Telmo (1889, with Gonzalo Cantó Vilaplana and Apolinar Brull Ayerra)
• National overview (1889, with Celso Lucio)
• Secret society (1889, with Celso Lucio and Sinesio Delgado)
• The guards (1890, with Gonzalo Cantó Vilaplana)
• Calderón (1890, with Celso Lucio)
• Our Lady (1890)
• The legend of the monk (1890, with Gonzalo Cantó Vilaplana)
• Victory! (1891, with Manuel de Labra)
• Independent candidate (1891, with Gonzalo Cantó Vilaplana)
• Kidnappers (1892, with Celso Lucio)
• The appeared (1892, with Celso Lucio)
• The bells (1892, with Gonzalo Cantó Vilaplana and Celso Lucio)
• The Mostenses (1892, with Gonzalo Cantó Vilaplana and Celso Lucio)
• The great captain (1892, with Celso Lucio, Enrique Ayuso and Manuel de Labra)
• Freeway (1893, with Celso Lucio)
• The decamised (1893, with José López Silva)
• Right arm (1893, with Celso Lucio)
• The claim (1893, with Celso Lucio)
• Puritans (1894, with Celso Lucio)
• The left foot (1894, with Celso Lucio)
• The poppies (1894, with Celso Lucio)
• Tabardillo (1895, with Celso Lucio)
• Corporal first (1895, with Celso Lucio)
• The other world (1895, with Joaquín Abati)
• The Crown Prince (1896, with Celso Lucio)
• The car mail (1896, with José López Silva)
• The strings (1896, with Celso Lucio)
• Bad tongues (1896, with Celso Lucio)
• The head of the movement (1896, with Manuel de Labra)
• The redheads (1896, with Gonzalo Cantó Vilaplana)
• The bandits (1896, with Celso Lucio)
• The trumpet band (1896)
• Rabbits (1897, with Celso Lucio)
• The Attack Plan (1897, with Celso Lucio and Julio Pardo)
• The Arch Iris (1897, with Celso Lucio and Enrique García Álvarez)
• The shrimp (1897 with Celso Lucio)
• The yellow guard (1897, with Celso Lucio)
• The saint of the Isidra (1898)
• The Feast of San Antón (1898)
• Instant (1899, with José López Silva)
• The last shot (1899, with Celso Lucio)
• The Face of God (1899)
• The stagger (1900, with Celso Lucio)
• Maria de los Angeles (1900, with Celso Lucio)
• Sands and melons (1900)
• The trumpet of orders (1900)
• The 19th century (1901, with Sinesio Delgado and José López Silva)
• Alcalá's uncle (1901)
• Doloretes (1901)
• Kids weeping (1901, with Antonio Paso and Cano and Enrique García Álvarez)
• The Death of Agripina (1902, with Enrique García Álvarez)
• The currency (1902)
• Andaluz Gazpacho (1902)
• Saint John of Light (1902, with José Jackson Veyán)
• The handful of roses (1902, with Ramón Asensio Mas)
• The rascals (1902, with José Jackson Veyán)
• The Song of the Shipwreck (1903, with Carlos Fernández Shaw)
• The terrible Perez (1903, with Enrique García Álvarez)
• Coloring, coloring (1903, with José Jackson Veyán)
• The kids at school (1903, with José Jackson Veyán)
• Jealousy jealousy (1904, with Carlos Fernández Shaw)
• Poor Valbuena (1904, with Enrique García Álvarez)
• The Paradise of Children (1904, with Sinesio Delgado)
• The stars (1904)
• The handsome (1905, with José Jackson Veyán)
• The dog boy (1905, with Enrique García Álvarez)
• The gate of the Dolores (1905, with Enrique García Álvarez)
• The famous Cañizares (1905, with Enrique García Álvarez and Antonio Casero and Barranco)
• The fucking money (1906, with Carlos Fernández Shaw)
• The Tejada Chicken (1906, with Enrique García Álvarez)
• Black penalty (1906)
• The distinguished sportsman (1906, with Enrique García Álvarez)
• The night of Kings (1906)
• The age of iron (1907, with Enrique García Álvarez and Ramón Asensio Mas)
• People would be (1907, with Enrique García Álvarez)
• Crazy luck (1907, with Enrique García Álvarez)
• Soul of God (1908, with Enrique García Álvarez)
• The skinny meat (1908, with José Jackson Veyán)
• The ferret (1908, with Enrique García Álvarez)
• Felipe second (1908, with Enrique García Álvarez)
• The joy of the battalion (1909, with Felix Quintana)
• The method Górritz (1909, with Enrique García Álvarez)
• My dad. (1910, with Enrique García Álvarez)
• The trust of the Tenorios (1910, with Enrique García Álvarez)
• The first conquest (1910, with Enrique García Álvarez)
• The honey of life (1910, with Enrique García Álvarez)
• The dread of Muñiz (1910, with Enrique García Álvarez)
• Genius and figure (1910, with Joaquín Abati, Antonio Paso and Cano and Enrique García Álvarez)
• The master of the street (1910, with José López Silva)
• Joyful gender (1911, with Ramón Asensio Mas)
• Gentle (1911, with Enrique García Álvarez)
• The Nobel Prize (1911, with Joaquín Abati)
• Prince Casto (1912, with Enrique García Álvarez)
• The quartet Pons (1912, with Enrique García Álvarez)
• The fresco of Goya (1912, with Enrique García Álvarez and Antonio Domínguez)
• The poor girl (1912)
• The gentuza (1913, with Enrique García Álvarez)
• The blue stone (1913)
• The friend Melquíadesor By mouth the fish dies (1914)
• The Adventures of Max and Minoor What fools are the wise! (1914, with José Jackson Veyán)
• The Court of Risalia (1914, with Antonio Paso and Cano)
• The shadow of the mill (1914)
• The niece of the priest (1914)
• The house of Quirós (1914)
• Café solo (1914, with Joaquín Abati)
• The Peñuelas Boyor There is no evil like envy (1915)
• Olympia's Star (1915)
• Serafín, the pintureror Against want there are no reasons (1916, with Juan Gómez Renovales)
• The Miss of Trevélez (1916)
• The Revenge of the Petraor Where they give them, they take them (1917)
• The artificial womanor Doctor Miró's recipe (1918, with Joaquín Abati)
• My husband's coming! (1918)
• The water of the applesor When the river sounds (1918)
• The flower of the neighborhood (1919)
• The tears of the Trini (1919, with Joaquín Abati)
• The great fortunes (1919, with Joaquín Abati)
• The caciques (1920)
• No offense, Beatriz. (1920, with Joaquín Abati)
• The count of Lavapiésor There is no force against cunning (1920, with Alfredo Trigueros Candel)
• The maña de la mañica (1920, with Joaquín Abati and Pedro García Marín)
• The cat girl (1921)
• Little girl the Pistajoor There is no good like joy (1921)
• The heroic villa (1921)
• It's my man. (1921)
• The look of his eyes (1922)
• Fucking Charleston. (1922)
• Bad time (1922)
• The tragedy of Marichu (1922)
• The Moza de Esquivia (1923, with Gregorio Martínez Sierra)
• The Madness of Don Juan (1923)
• Angela Maria (1924, with Joaquín Abati)
• The miracles of the labor (1924)
• Happiness (1924, with Antonio Estremera)
• The way of all (1924, with Antonio Estremera)
• Don Quintin, the bitteror The one who sows winds (1924, with Antonio Estremera)
• The teachers canteros (1924, with Antonio Estremera)
• The laughter of Juana (1924)
• Smells of smell (1924)
• What a nice man! (1925, with Antonio Paso and Cano and Antonio Estremera)
• Uncle Quico (1925, with Juan Aguilar Catena)
• The Cross of Pepita (1925)
• Bye, Benitez! (1925, with Emilio Sáez)
• Mr. Pepe the Templaror The stain of the mora... (1925, with Antonio Estremera)
• The stumble of the Natior Under a bad layer (1925, with Antonio Estremera)
• Jealousy is killing me (1926, with Antonio Paso and Cano and Antonio Estremera)
• The passions (1926)
• The last monkeyor The boy from the store (1926)
• Meccachis, how handsome I am! (1926)
• In Aragon hi-born (1926, with Pedro García Marín)
• My mother married me.or The sails of Elena (1927)
• Mr. Adrian, the cousinor How bad it is to be good! (1927)
• The skin of the wolf (1928)
• The midlayer solar (1928)
• Model prisonor The Revenge of an Evil (1929, with Joaquín Abati)
• For you is the world (1929)
• Round Copies (1929, José de Lucio)
• The countess is sad...! (1930)
• Mr. Badanas (1930)
• The chamarileros (1930, with Joaquín Abati and José de Lucio)
• The Tarambana Princess (1931, with Joaquín Abati)
• Living with illusions (1931)
• The goddess laughs (1931)
• The blissful skirts (1933)
• Watch out for love (1933)
• Twelve o'clock. (1933)
• The casto don José (1933)
• Peccata mundi (1934, with Antonio Estremera)
• The tragedy of the skin (1935)
• Kiss me, it suits you (1936, with Antonio Estremera)
• Mari Eli (1936, with Jesus Garay)
• I want (1936)
• Father Pitillo (1937)
• Uncle Miserias (1938)
• The sleeping fiera (1938)
• La Guapa del Carrascal (1940)
• The little man (1941)
• You know Poquita. (1942)
• Don Truths (1943)

Nonfiction

Articles

• Eight years of absence, in El Liberal, Alicante, March 11, 1888
• A dissectionIn El Liberal. Alicante, 7 October 1888
• L'assomoinin Alicante. Alicante, March 11, 1888
• Poetryin Alicante. Alicante, March 25, 1888
• The Criticin Alicante. Alicante, April 16, 1888
• [Article], The Herald of Madrid. Madrid, 1 August 1895
• I remember.In El Correo. Alicante, August 1, 1923
• Your best day of the yearin White and Black. Madrid, January 1, 1927
• Anecdote of childhoodIn El Correo. Alicante, 31 December 1930
• My Foguera, in Diario de Alicante. Alicante, June 19, 1934
• AlicanteFesta. June 1936

Biographies

• Cartilla and booklet. Traces of a reign (1887)

Speeches

• El Alma Popular de España (1942). Lecture given at the Royal College of San Antón, in session chaired by H.E. and most Reverend, sir. Nuncio of S.S. on 18-IV-1942

Epistolary

• A Diario de Alicante. Alicante, August 20, 1908
• A D. Florentino de ElizaicinIn El Correo. Alicante, May 28, 1913
• A D. Enrique Limiñana AnglésIn Time. Alicante, March 23, 1920
• A D. Eduardo García MarcilliOn the Day. Alicante, 17 November 1921
• The sameIn The Newspaper for All. Alicante, December 28, 1921
• A D. Gonzalo Mengual, in Diario de Alicante. Alicante, January 15, 1931
• A D. Francisco Figueras Pacheco, in Anales del Centro de Cultura Valenciana, n.o; 30. Valencia, 1952
• A D. Carlos Fernández Shaw (23 letters), in Revista de Literatura, numbers 43-44. Madrid, C.S.I.C., 1962

Theatrical technique

Arniches dominated the theatrical technique and the comic resources of the action, and his comedies are agile and entertaining; he knew well how to mix tragedy and the humorous, and how to take advantage of any dramatic situation, not only because of his comic vision and his masterful use of language, although he is reproached for crushing grammar and vocabulary and his abuse of environments vulgar He also collaborated as a zarzuela librettist for the maestros Ruperto Chapí, Federico Chueca and José Serrano ( El trust de los tenorios , in 1910 and El amigo Melquíades , 1914). Fortunately, he also saw himself in other genres, such as the low genre or the operetta, and due to his widespread fame, he obtained a street in Madrid, which was taken away during the Civil War due to his ideology. Something similar happened with his street in Alicante, which lost its name in 1937, and the commemorative plaque of his birthplace was also removed.

Partial filmography

• Don Quintin the bitter (1935) (theatrical work/there is a first silent version of 1925)
• Sentinel Alert (1937)
• The house of Quirós (1937)
• The song you sang (1939)
• The top boss (1940)
• My husband's coming! (1940)
• Soul of God (1941) (dialogue)
• For you is the world (1941) (theatrical work)
• The most unhappy of the people (1941) (theatrical work)
• That's what you want in Jalisco! (1942) (novela)
• Witch in the Riachuelo (1942)
• The cat girl (1943) (argument) (dialogue)
• What a nice man (1943) (guion)
• Angela is like this (1945) Angela Maria)
• Night of Kings (1947) (argument)
• The Madness of Don Juan (1948) (theatrical work)
• The Miss of Trevélez (1984)