Writer and Spanish journalist, born in 1920 in Alcázar de San Juan (Ciudad Real). In some of the manuals and codes of Spanish dramatic authors, the name of this writer is considered, by mistake, pseudonym of writer and journalist Guillermo Sautier Casaseca, that Luisa Alberca collaborated in the drafting of some of its radio serial and plays.
Although he/she showed at a young age an accused humanistic vocation, his academic training and his initial career leaned in other directions. Thus, after having studied at the school of Commerce of Alicante, joined by opposition the body General administrative of the air force, to which he/she belonged until he/she was thirty years of age. Since then (1950), it became part of the Madrid Radio station template, where it was revealed as an outstanding creator of dramatic serials, some of which, for your interest and literary quality, soon passed to be edited in the form of novel or to be represented as a theatrical feature. Among these titles printed or carried to the scene, are what we are never (1952), what never dies (1953), the second wife (1956), on behalf of the son (1957), another Justice (1960) and story of a woman: Rosa María (1964).
From 1957, now converted into one of the most popular figures of the Spanish radio broadcasting, Luisa pool Lorente began working in the network of stations of the movement, where continued to create many dramatic spaces.
Released on August 7, 1953, the day that never dies (1953) is a comedy written in collaboration with the aforementioned Guillermo Sautier Casaseca, and resulting from the adaptation of a radio serial, composed by the author of La Mancha. Its next theatrical release, verified on April 2, 1954, was starring last Bliss, a comedy in three acts in whose drafting intervened also mentioned Luisa pool Lorente Companion. That same year of 1954 (specifically, the 27 June, at Teatro Liceo de Guadalajara), held the premiere of the serial 8 ' 30, a brief intentional composed of a single act, focused on the inner workings of the world radio and written, also, in collaboration with Guillermo Sautier. And after little more than one month, the La Mancha writer attended the premiere of another of her works, this time staged in the Principal Theater of Alicante, on August 1, 1954. It was titled piece a suburb next to the sky, a comedy made up of three acts, in whose elaboration had also intervened the hitherto inseparable literary companion of the author. This work enjoyed a extraordinary reception by viewers - even though it went unnoticed for the critics-, which led its revival in Madrid within two years, on July 12, 1956. It was then that Alfredo Marqueríe, which, menorquin writer at the time, was in charge of the drama critic in the newspaper ABC, published in the Rotary Madrid the day after the premiere of the following words: "a suburb next to the sky lost its melodramatic air and becomes a succession of scenes of two characters - defect characteristic of those who not dominate the theatrical technique - which", although they have a laudable intention moralistic and adoctrinadora, are heavy and convoluted, when non-sensitive and gimoteantes [...]. We do not know why reason has been taken to the theatre".
Already a year earlier, following the premiere at the Teatro Calderón in Madrid, on November 25, 1955, the second wife (another comedy written in tandem by Luisa Alberca and Guillermo Sautier), Mahon writer it had shipped to taste against both authors, from the same pages of the newspaper ABC: "in short, the second wife or by their subject, or its development, its dialogue pedestrian and vulgar, if not engolado and cheesy; nor by his lacrimosa sensiblerias, it can be taken seriously". However, the work had also earned the applause of the audience, which at the time of the release still had memory of the successful radio serial in which this piece was based.
On January 29, 1956 premiered, in the Municipal Theatre of Gerona, the work entitled without cell, a comedy in three acts which had been written by Luisa pool Lorente, this time in collaboration with a new literary adventures companion, F. Martínez Beltrán. This dramatic piece went virtually unnoticed for the critics and the public, but not the same thing with the next theatrical installment of La Mancha writer happened, entitled in the name of the son, and based also on one of the radio serial that more fame they had reported to the author. It's a comedy-drama consisting of two acts - the first of which is made up of five pictures, and the second two-, whose premiere took place in the Teatro Fuencarral in Madrid, on March 29, 1957, by the company "Radio plays". For its theatrical stage adaptation, Luisa Alberca returned to count on the collaboration of Guillermo Sautier Casaseca, who, apparently, knew how to stage benefit from abundant tear resources that abound in the piece.
Finally, both authors released in Madrid, in 1958, two new samples of its theatre popular and sentimental, perhaps to be interpreted through the microphones of radio, but very poor quality when it comes to be brought to the tables. The first of these works. entitled the Green Lady, is a dramatic comedy divided into two parts (preceded, in turn, in a foreword), which was premiered at the comic Theatre in Madrid on 11th of the year. The second, put in scene the 25 August 1958 at the Teatro Fuencarral in Madrid, under the stage direction of Rafael Beltran, is a melodrama entitled the House of hate.
-GALERSTEIN, Carolyn L. Women writes of Spain (New York: Greenwood Press, 1986).
-CONCRETE, Juan Antonio (dir.) Authors in the history of the Spanish Theatre (1500-1994). (Madrid: publications of the Association of Directors of scene of Spain, 1996). 2 vols.