# data[].attributes.body
Autos sacramentales were religious plays that reflected Spain's Catholic devotion. Autos sacramentales combined normal human stories with supernatural, allegorical, and biblical motifs to create emotional religious dramas. They were often performed on two-story stage wagons during religious processionals.

Catholic culture was very important in Spain, so religious and secular productions were kept separate. Autos sacramentales were religious plays, while secular dramas were embodied in comedia nuevas. These three-act plays combined comedy and tragedy with themes from history, mythology, popular culture, and the Bible in theatrical performances.

# data[].attributes.body
Theme: Honor was a major theme in Spanish Golden Age drama. Theatre was used as a metaphor for life, and honor was therefore represented in a number of ways on stage. The idea of right versus wrong was also a common theme in plays from this period. The Christian conduct at the time enforced the idea that to lose one's honor is to live in shame and despair. A large number of plots focus on the fear of lost reputation and on masculine honor based on women's chastity. While women seem to control their men's honor, gender roles are only very conservatively challenged. Additionally, the stock character of the gracioso (disillusioned clown) was also commonly used in stories in which a character never wonders about what is right and wrong.

# data[].attributes.body
Federico García Lorca was a  Spanish poet who is known primarily for his Andalusian works such as Blood Wedding, Yerma, and La casa de Bernarda Alba. Lorca was also apart of the Generation of 27' which was an influential group of poets and playwrights during 1923-1927 that formed due to similar interests in avant-garde ideas. In the early 1930's, Lorca helped inaugurate a second Golden Age of the Spanish theatre by resurrecting and revitalizing the most basic strains of Spanish poetry and theatre.

# data[].attributes.body
During the 1920's, avant-garde influence slowly crept into Spanish theatre. However, it was in the early to mid 30s, under the Second Republic which was a very liberating time for artists and dramatists. They were free to incorporate their political beliefs into their works and indulge in avant-garde ideology. However, following the Spanish Civil War, playwrights faced repression from the Franco Authoritarian Regime  as censorship of media became legal. This severely crippled the innovation and creativity of theatre.  The director of a theatrical performance was required by law to request permission prior to performing, and scripts were read over by state censors. It was also during this time where power was consolidated within theatre with the creation of a theatrical director. Propagandistic plays were becoming the new norm and theatre would not thrive again until the 40s and 50s.

# data[].attributes.body
After a period of dictatorship under the military regime of Primo de Rivera from 1923–1930 , the Second Republic was declared in 1931. The Second Republic can be split into four distinct phases, the first being the Provisional Government which lasted until a religious issue forced it to resign in October of 1931. Then came the Socialist and Left Republican governments which lasted from 1931-1933 until they were defeated by the conservative government of the Radical Republicans and the Roman Catholic in the 1933 election. Following that, the government of the Popular Front won the election in 1936 and eventually led to the military uprising later that year. After the Spanish Civil War concluded, Francisco Franco became a dictator and his authoritarian state established a legal framework for censorship of all media.

# data[].attributes.body
In the early 1920s, European avant-garde movements slowly began to make their presence felt in Spain. While only the most progressive playwrights likened to the new ideas, they started a transition of Spanish theatre away from the melodramatic and the grandiose, and towards genres such as surrealism, ultraism, and futurism. During this time, theatre and art were perceived with very open attitudes. In theatre, the idea of surrealism spread rapidly and draws on the unconscious mind to connect dreams to reality. Some major artists and playwrights that used surrealism during this time were Salvador Dali, Pablo Picasso, and Federico Garcia Lorca.

# data[].attributes.body
The Generation of '36 was a group of Spanish artists, poets, playwrights who were working during the Spanish Civil War from 1936-1939. They also started a literary movement which documented the experiences of people during the civil war. However, they suffered harsh criticism due to the mass division within society at the time. Some of the artists from the Generation of '36 included Miguel Hernandez, Antonio Buero Vallejo, and Luis Rosales. Many of them would produce works that became very significant in the 40s and 50s, criticizing censorship and promoting social agitation