book, Versos y estampos, published in 1927, was a collection of pieces she wrote in her teens. Her older brother, Claudio de la Torre, became a successful novelist and playwright in the early 1920s, winning the National Book Award in 1924, which inspired his sister. Her work includes four collections of poems and two short stories. Her contribution to poetry during this period led to her association with the Generation of '27, an influential group of poets including Ernestina de Champourcin, Concha Méndez and Carmen Conde, that arose in Spanish literary circles between 1923 and 1927, essentially out of a shared desire to experience and work with avant-garde forms of art and poetry. Their first formal meeting took place in Seville in 1927 to mark the 300th anniversary of the death of the baroque poet Luis de Góngora. From 1927, she gave singing recitals in Madrid, moving increasingly from her literary career into the theatre as she and her playwright brother, Claudio de la Torre created the Teatro Mínimo company in Majorca. In 1934, Gerardo Diego included her as one of only two women in his overview of Spanish poetry Poesia española. Singer and actress In 1934, de la Torre did work as a voice actress for Paramount, dubbing over Marlene Dietrich for films in Joinville, and also dubbed Alexander Hall's Miss Fane's Baby Is Stolen (1934). She returned to Madrid in 1935, where she began concentrating on her theatrical and musical repertoire, becoming a successful soprano. In February 1935 she performed in the "Concierto de 1900" at the Teatro María Guerrero, accompanied on piano by Cipriano Rivas Cherif. She had a stint as the soloist for the Madrid Symphony Orchestra, performing the works of Fauré, Debussy, Esplá, and Saint-Saëns. During the Spanish Civil War she returned to her hometown. There she would publish her first cinematic novels under the pseudonym of Laura de Comminges, publishing the La Novela Ideal collection in 1937. In the 1940s, de la Torre gained a reputation as a stage actress at the Teatro Nacional, and also performed in films in the 1940s. Between 1944 and 1957, she also performed on stage at the Teatro invisible de RNE. She made her debut in Primer amor, dirigida, directed by her brother Claudio, and she subsequently appeared in the films such as Claudio's La blanca paloma (1942) and Misterio en la marisma (1943), José María Castellví's El