The Rise of Tributary Genre in Spanish Television
There is a genre on Spanish television that falls somewhere between comedy and drama and deserves its own category in the canon: the tributary genre. It is not an easy art form, as the bar has been set very high, perhaps insurmountable, since New Year’s Eve in 1985. That year, the only existing television channel— under the direction of José María Calviño, the father of the current president of the European Investment Bank— took advantage of the bleary eyes of all Spaniards glued to the screen to give a beginner’s lesson in taxation. The chosen teacher was Concha Velasco, who explained that from then on, being a “yeyé” girl would be a bit more expensive: both the tousled hair and colored stockings would have a surcharge called value-added tax.
The Golden Era of Tributary Performances
“Long live the VAT!” sang Velasco. Shortly thereafter, in 1987, we enjoyed another sublime work by Lola Flores, who suffered the exemplary rigors of a government determined to crack down on trickery. It was so moving to see La Faraona ask each Spaniard for a peseta, that I still wonder why the country didn’t take up a collection to pay off her debt. I was a child, but I would have gladly broken my piggy bank.
A Bold New Addition to the Genre
One must commend the audacity of Diego San José. It is not easy to compete with Concha Velasco and Lola Flores, let alone with a story inspired by Shakira, who would not stand a chance on stage with either of the first two. San José has taken a bold step and emerged victorious. His new series is a marvel of restraint, ellipsis, and rawness that honors the tragicomic spirit of the tributary genre.
Just like in “Vota Juan,” where Javier Cámara’s performance was half the brilliance of the series, much of the credit goes to Carmen Machi, who plays the almost retired inspector who returns for an encore: the hunt for Celeste (a Mexican singer obviously inspired by Shakira, but without parody or imitation), who has not paid a single euro in taxes. The series may be marketed as didactic or proselytizing, with a message of “We are all the Tax Office,” but make no mistake: Diego San José has not created a commercial or a newspaper editorial. “Celeste” (Movistar Plus+) is a story of characters, resentments, loneliness, and all-too-human bitterness. Perhaps tax evaders are still as cunning and elusive as when Concha Velasco sang about VAT, but television reflection has evolved from cabaret to art. Bravo.
Conclusion
The tributary genre in Spanish television has a rich history of captivating performances that blend comedy, drama, and social commentary. With each new addition like “Celeste,” the genre continues to evolve and captivate audiences with its unique storytelling and character development.
FAQs
What is the tributary genre in Spanish television?
The tributary genre in Spanish television combines elements of comedy and drama to explore themes related to taxation, social issues, and human behavior.
Who are some notable performers in the tributary genre?
Notable performers in the tributary genre include Concha Velasco, Lola Flores, and Carmen Machi, who have delivered memorable performances that have shaped the genre.