Narrator and dramatist Spanish 20th century (although perhaps born at the end of the previous century), of which there are no known other data than those related to the novels and plays that, today, can be attributed with certainty to his authorship. To sign some of these works, he/she used the literary pseudonym of Adebel.
Surprisingly, this lack of attention, the literary critic specializing, towards the figure of Eduarda Adelina Aparicio y Ossorio, in view of the considerable number of works that he/she composed and that some of his plays were carried to the stage or published in Madrid in the first half of the 20th century, with the consequent impact on the media of the moment.
Regard to his narrative production - of less interest than their written dramatic-, there is two titles (by a drop of blood and the two banks) that correspond to the only two novels of the author are preserved today; However, in the printed editions of the plays of Eduarda Adelina Aparicio appears also reviewed the news of the existence of a third original novel of this author, entitled the Pearl necklace, work that, nowadays, it is considered defunct.
Much more important was the contribution of the author to the dramatic literature of his time, which broke with the release of the díscola, verified at the Alcazar Theatre in Madrid on April 26, 1929, in the midst of flagrant standing ovations by the audience. It's a comedy-drama composed of three acts, which the author is served with certain ease of the archetypal characters high bourgeois comedy of its time addressing an issue of great performance on stage hosting the bourgeois Theater: the criticism of marriages entered into by economic interests, without taking into account the loving feelings of the intending spouses. Immediate criticism, appeared in some newspapers and magazines of considerable prestige (v. gr., Sun, La Voz and El Heraldo de Madrid), was not so benevolent as the public congregated the day of the presentation of the díscola, then immediately noted the lack of originality in the choice of the theme, motives and dramatic situations, and highlighted also the scarce expertise who betray the naïveté and innocence of the author. In spite of this, the work earned the honors of the printing press and was published in Madrid, in charge of the society of Spanish authors, in 1929.
In those final years of the Decade of the twenties, Eduarda Adelina Aparicio and Ossorio had completed a second dramatic piece that, under the title the secret of Julia, put in the hands of the company Alba-Bonafe in 1927, with the intention that was carried to the tables. However, the extravagant complexity of this piece - which, from its very conception as comic obrra of entanglement, soon becomes a great tangle that seems stuck to the own author, necessitated that Eduarda Adelina Aparicio would draw up a new version of the text. Thus, the secret of Julia, in his first draft, never took to a stage; However, appeared printed in an edition of the society of Spanish authors (Madrid: 1929).
The second and final version of this work (now entitled to which or the secret of Julia) introduced accurate changes to make possible its staging, the first of which affected the generic nature granted its author, who moved the original score of "comedy" by the label - more ambiguous and vague - "comic toy". With this and other substantial changes in its content (which, however, did not clarify much the plot), the work finally took to a stage on November 25, 1932, the date on which was premiered by the company of Juan Bonafe in Madrid's Teatro María Isabel. Journalistic criticism that dealt with his review showed true contempt for the supposed virtues of comic of this work, although it ceased to underline once more the lack of ability of "Adebel" as a dramatic writer.
In the middle of 1929, Eduarda Adelina Aparicio y Ossorio concluded a new theatrical work that, although he/she never came to be represented (according to the news that have survived to this day), yes it was collected in the above-mentioned Edition of the society of Spanish authors (Madrid: 1929). It is the voice of the blood, a drama that, ultimately, is nothing more than a sketch with theatrical form of a story that the author should have been a narrative style. Its Print Edition displays its conclusion date: June 30, 1929.
Another outstanding play by "Adebel" was the entitled Guillermina, a comedy-drama "three acts and a mutation", of which are not references about his possible release on stage; However, it saw the light in an Edition by the society of Spanish authors (Madrid, 1932). He/She is confusing argument that is involved an aristocrat who discover their true origins, anchored in the village and not a noble class with jubilation which, by flaws and defects in it, do not want belonging. Certainly, this approach contributed the recent proclamation of the second Republic, since the facts reported in Guillermina take place in the months following the April 14, 1931. As it had already happened with other works by the author, Eduarda Adelina Aparicio y Ossorio also changed this text to convert it into a new work, now titled Marquesa de Cairsan, which was published by the society of Spanish authors (Madrid: 1932) as if a second edition of Guillermina.
Apart from these well-known texts, in different editions mentioned so far are various news about other works of "Adebel", works that, for the moment, we know only his title. Thus, on the back cover of the edition of Guillermina ensures that Eduarda Adelina Aparicio was author of by a Manila shawl, a comic comedy consists of three acts; on the volume where Marchioness of Cairsan was printed another title is attributed to the author, Don Dinero WINS; and in the Edition to which or the secret of Julia is added to the dramatic production of "Adebel" the comedy-drama the strength of the bond and the comico-dramatica comedy mother and police.
Brilliant documentation that provides one of the leading scholars of the theatre at that time (see, in "Bibliography", Pilar Nieva de la Paz), the General Society of authors has registered numerous titles due to Eduarda Adelina Aparicio y Ossorio, although most of them make reference to common works, thus only are calling some of the many versions that used to provide the author of each of its parts. Thus, v. gr., the above-mentioned work Guillermina would have not only undergone reprocessing in Marquise de Cairsan, but that was the subject of other changes in registered titles as the bastard of Varsall, Guillermina Varsall, the daughter of the Cardinal, the cardinal Ordoño Crespo, etc.
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.
It SNOWS peace pillar. Spanish dramatic authors between 1918 and 1936. (Madrid: Consejo Superior de Investigaciones Científicas, 1993).