[Resumo] As características específicas do feito dramático fan do teatro un xénero especialmente interesante nos procesos de recuperación e consolidación dun sistema cultural autónomo. No primeiro e último cuarteis do século XX, o teatro en lingua galega viviu dous momentos de renacer; renacemento que se enmarcaba nun movemento global de reivindicación e defensa da cultura galega. O galeguista coruñés Jenaro Marinhas del Valle (1908-1999) foi testemuña privilexiada de ambos os dous momentos e, para alén de asinar os seus propios textos dramáticos, forneceu as súas reflexións e textos teóricos á volta do feito escénico. Nestes ensaios, Marinhas pon en destaque a necesidade de non virar as costas ao público se se quere alcanzar a consolidar un teatro autónomo inserido nunha cultura propia non subsidiaria. Igualmente, chama a atención sobre a relevancia da lingua como elemento caracterizador dunha dramaturxia diferenciada. Nesta comunicación focaranse as ideas de Marinhas á volta da función do público no proceso de configuración dun teatro nacional galego e poranse en relación esas ideas do dramaturgo coruñés coas vigorantes nos diferentes estadios da configuración do sistema teatral galego —e, por extensión, cultural— que el viviu en primeira persoa.[Abstract] The specific characteristics of drama make theatre an interesting genre specially in the processes of recovery and consolidation of a cultural autonomous system. In the first and last quarters of the 20th century, the theatre in Galician language experienced two revivals. They were framed by a global movement of recovery and defence of the Galician culture. The Galician nationalist from A Coruña, Jenaro Marinhas del Valle (1908-1999), was a privileged witness of both moments. Besides publishing his own dramatic texts, he also wrote essays and theoretical texts about the revival of the scenic arts. In these essays, Marinhas highlights the need to consider the audience, if the intention is to consolidate an autonomous theatre inserted in an own, not subsidiary culture. Equally, he pays attention to the relevance of the language as the characteristic element of a differentiated dramaturgy. In this paper, Marinhas’ ideas will be approached regarding the function of the audience in the process of configuration of a national Galician theatre. The playwright’s ideas will be contrasted with the ideas in force during the different stages of the configuration of the drama and the cultural system in Galicia, that he witnessed
