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On December 20th, at seven in the evening, we gather in the Parque Roca to celebrate police repression of nineteenth and twentieth of December two thousand and one. To do this, shoot a Bolivian. Admission is a nonperishable food. We wait.

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burn their clothes, burn their phones, burn your TV, burning your furniture, cars, everything you have, burn it. His life is destroyed, Understand them, the waste earn money to buy items that do not need. Just because you are hypnotized to believe they need what they buy, they will be happy with what they buy, going to live now with what they buy, when, in fact, manipulated their darkest desires and perversions to force them to buy. The social organization need to buy for the economic wheel keeps turning and crushing will, for a programmed life and soul full of objects without any sense. All I know is sitting on the purchase, operation of social life requires the purchase. Help them buy, if they can not, then they are charged, bought without knowing that and have the anguish and emptiness that is absolutely useless purchase, without reason, that only serves to feed the maw par of a regime that is always hungry. So, burn all, burn their cars, their clothing, appliances, ornaments, furniture, cell phones, their albums, books, perfumes, their cosmetics, shoes, burn everything. And buy it again, and this system can continue operating.

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The "girls" of the opposition

Yes, here we understand everything. Beauty is more than a cultural construction, we know. That there are a lot of social conditioning that make us perceive the beauty in a way, we also know, as we know that the pretty and ugly is unreal, that does not exist outside our mind. That merchants are taking advantage of this and cheat us with their offers, so we know and of course we know that it is necessary the destruction of the aesthetic paradigm. But we can not deny certain facts, certain sensations that cause us some characters. We have the theory that the evil deformed, ugly, hardened features. And in that sense we say that Graciela Camano resembles an orangutan. Yes, we know, this is discrimination, is to feed a bias but we agree that is closer to the missing link of the female gender. And his hair dyed orange not very flattering either. And is not the only case that Elisa Carrio is more like a pig than a woman, look at her when she speaks and gestures tell me but it would make a pig if he spoke. And take it as a compliment that pigs are very intelligent. In these cases we may speak of a woman's animalization in a slow fall into utter irrationality, wilder, more control. In others, we say that the evil of "masculinized," ie, became a hybrid that is a woman physically but has the sensitivity and intelligence that have stunted men, for example, Margaret Thatcher. In Argentina, think Patricia Bullrich, the lines hardened face gesture to ease you from speaking or smiling, their eyes devoid of life that keep you from expressing tenderness or compassion, her black hair, curly, rough, dull, make a man or, rather, in a woman "masculine." Other examples are Maria Eugenia Estenssoro or Silvana Giudici. And better not talk about some men who have a policy process "monstruificación" which are transformed into gargoyles, as Fernando Iglesias, tall, thin, thick dark eyes and you, who looks more like a corpse coming back from the grave a person.


Yes, okay, we understand that beauty is a cultural issue is a subjective construction, even ideological. We also know that these considerations are frivolous, they do nothing, which only generate hatred and tension. We know. But what can I say?. If after reviewing this gallery of terror, to see horrible things and detestable, to scare us with these specimens loaded with evil and irrationality, we see Cristina. Colorada, nice, pretty, with flexible features, with its huge smile and warm, with their liveliness, their intelligence, their beauty and can not help thinking that she is prettier than the "girls" of the opposition.

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Some notes on the evolution of theater in Mexico during the twentieth century


Liróforo Gabriel Velázquez The Toledo
Some notes on the evolution of theater in Mexico during the twentieth century
Part 3
For Mexico, the first half of the twentieth century is found in the trend build the new ideals that should prevail in their social relationships. The proposals in the art are focused on nationalism, to discover the depth of pre-Hispanic heritage, an identity that would provide significant contributions that would encourage individualism. There is a clear tendency to seek the best of that nationality. The innovations are then directed to a reconstruction of the scene. Scenarios are completely eliminated, allowing the dark and the sounds insinuate situations.
contrast to mid-twentieth century there is finally a concern for the viewer's interaction within the theatrical setting. The theme manages to find a syncretism between past and present. Memories are the real image that tortures, epiphanies and strengths, which lead to action in all cases and are the reference to subjective presence, found in the minds of viewers, as part of a national identity.
The language also serves as a tool to connote that there is a profanity, a sense of social belonging, equality between viewer and actor. Creating links with consciousness, are identified by a particular symbology, which the viewer can recognize and have as an identity.
For half a century in Mexico, the values \u200b\u200bhave degenerated in the big city. The artist's search requires you to cast off, so that in 1954 there is a break with the paternalism the state in pursuit of creative freedom and expression. Youth who have been trained under the tutelage of theater, beginning to show new proposals, that somehow ridicule the social environment, render it vulgar at once human and thus arises a break with nationalism. To this the answer is to reflect, through a neocostumbrismo, social reality at that time prevailing in the world.
Emilio Carballido, dance the turtle dreamed of in his speech dramatist, proposes the recovery of neo-folkloric values. The recovery of common behavioral details in the city, become the elements that cause the reader empathy with the work, feeling recognition and credibility, although not without perceiving that this has meant to ease the growing steadily sinismo author. The works at this time report focusing on how values \u200b\u200bare twisted and broken.
Although some noteworthy is the social time has also demanded their share of artists, are at that moment, as you can see with Elena Garro, a portrait of the struggle for women's rights, does not escape his criticism especially when much of the speech is directed to redeem the female figure, which is a good example of the things that alienated its predecessors. Another difference that implements
Carballido as definitive portrait of the moment is given in urban environment. Description and photo, find a internalization and identification with the public, through the image of the decadence of modernity. Urban issues, is used by the author as a pretext for displaying the degradation of values, the transformation of thought, the simplicity of a decadent society actions can be taken by simple dislike or misrepresentation of others through gossip and lies. The theme has a strong critique to individual values, customs to identify deficiencies exhibited
This is how the arguments are gradually leading to actions, to collect them in an intimate and contemptuous speech, hating the family and its meaning. His estrangement from the common approaches of the theater, let you display everyday aspects that may not even be seen, but which lead to the society by their own rules, a double moral behavior and instincts.
experimental trends, linguistically, as a theme, which had in the theater, soon found followers also. The proposals in this theater is to incorporate in the depictions of everyday life. The show has been a detriment, because since the introduction of cinema fell into detriment. Not reaching large audiences, they begin to deal with proposals that finally propose an experiment stage beyond the 4th wall. Finally theater universal trends have permeated the mood dramatic, although delayed by significant others.
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Some notes on the evolution of theater in Mexico during the twentieth century 4


Liróforo Gabriel Velázquez The Toledo
Some notes on the evolution of theater in Mexico during the twentieth century
Part 4
For the last quarter century, proposals that theater will be presented focusing on everyday life and modernity. In the simple things of Hector Mendoza, we can see how the relaxation of social mores comes to great performance. The paradox of daily life, imposing a theatrical dynamic of different social categories. The author proposes a fluid and natural language in order to recreate the very human representation of attitudes. Unlike other works that hitherto had been submitted, the playwright intends to engage with young people. The dynamics of their thinking becomes a possibility, conducive to the character involved with the audience, with one possible "that was" or "what."
The theater has finally managed to involve young people, so in the near future will encourage the innovation of much of its content and form, the pair make great progress, thanks largely to the rising careers of theater, which was encouraging that global flows of that discipline played a part in the performances.
Belatedly, many of the theatrical experiments that were being done in Europe since the beginning of the century, had their chance to be represented in shows who enjoyed the wonder of the surreal element of the Mexican daily. These elements were very well used previously by film directors such as Luis Buñuel, but not until the arrival of great masters of drama in our country that have implemented these elements in the scene. Alejandro Jodorowsky
youth follows this line Mendoza, implementing new features, with particularity, managed to expand the horizons of the stage. The perception of the break from routine, is presented as a divorce to a tradition that was trying to stage much of the conventional popular. In contrast, the critical period, associated with a certain ideological disillusionment, which strives for the individualization of experience, resulting in a multifaceted experiment, since their representations are subject to a number of paradigms, totally different than usual.
The dialogues are born of improvisation and emotion, from a script that shows a foot. Jodorowski classic game, allows a different perception of the theater after he and his followers. The theater is a magical activity, which can represent any absurdity, any element that is directed against the convention and tradition.
Finally, as part of a social product, the disillusionment of living together in large orbs, the difficulty of being alone and in the existential void, led the theater to the boundaries of postmodernism. The generation of the Century proposes alternatives that are a delight intellectual, visual, auditory, leveraging technology and the play of light. For Morelos and Noe Torres Morales, there is a transformation following the dramatic language. The possibility of the actor-director gives more opportunities to show, which involves a much more advanced in character-spectator coexistence. Signals disappear
membership of the characters. Lose the name, distance to keep up a fantastic experience. Disassociated themselves from traditional values, complete with a tendency to break the routine with a shrewdly humorous, critical and accurate, showing that it distorts reality itself, through the flesh and blood characters that compose them. By the end of the century redefinition stage, set design, technology, music and the creation of new values \u200b\u200band paradigms, offer entertainment for all tastes. The new chamber theater, aimed at small and exclusive groups, street theater and poor theater, which is aimed at the masses and are popular shows, the commercial theater, which is sponsored by the television companies and most experimental theater , which merges many possible techniques and adapts is the scenario that is within reach.
Fortunately, the theater has found a new dimension in their caps. The advantages Dimensional exposure the work you have been charged to the actor, who catches the arts learning in order to perfect its work. The potential has been explored largely along the twentieth century. It seems that a charm for the past back to the theater to some forums, but still needs to be given intelligent shows, as a way to go creating a cluster of viewers / consumers, who managed to make a quality theater movement in Chiapas.
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Some notes on the evolution of theater in Mexico during the twentieth century 2


Liróforo Gabriel Velázquez The Toledo
Some notes on the evolution of theater in Mexico during the twentieth century

Part 2 The first part of this study became aware of the social conditions under which represented the Mexican theater in the last century. Here we present the development of Mexican theater, according to the specificities of some authors and their respective parts, for that there will be a brief description of the values \u200b\u200bthat these works present, the way they were making the breaks, both in the field, that grew from a particular concern, the universal conflict of emotions, in the conventional manner of Elizabethan theater and canonical forms of representation, to the experimentation of the dimensions of space, the constant of fostering a climate of reflection, focusing his criticism of the social life and the decline of values.
In the early twentieth century Mexican society in the theater is a reflection of what is involved is the situation in the country, the climate of decomposition is portrayed from his position, with folkloric scenes and events that may be the vivid portrait social. The credibility of the talks is not yet looking like a dramatic value is not important how it is expressed only meaning. The characters are strong, stereotyped, enjoy the emotion, it is what drives their actions. The actor in his driving to the shares depends on outdated family structures, aimed at the protection of rights, but with a consciousness that takes you beyond the limits accepted by the bourgeoisie, it violates your comfort with a punishment from men, too human bastard offspring, who humiliates her bourgeois status and stain the honor of a family, right in the when the country is in chaos, Gamboa report this behavior and punishes the guilty. The challenge of the playwright is because in the story, reporting to the society of his time by his lack of empathy, and correcting from the intelligentsia. This creates
who later achieved the turnaround of the attention of playwrights to privacy. The scheme was started and it needs an identity. The values \u200b\u200bof the revolution are in danger, they do not enjoy strong support in the consciousness of the time, however, has weakened the credibility of the political system and be rebuilt.
For Julio Jiménez Rueda, when changes are conducive to its proposal. The tendency of the theater focuses on a rethinking of the values \u200b\u200bof society. It is noted for example in the construction of the characters in silhouette smoke, who have a more intimate touch, but direct their problems to a more universal sense. Its theme focuses on the emotions, which immediately holds the attention of the viewer, who remains on the lookout and uses his own experience to identify how they are the rest of the scenes and scenarios.
There is a clear contrast with the previous values \u200b\u200bof the regime, puyes the trend of individualization and rights, allow a relaxation of mores, which is observed in prostitutes characters, shown in Everyday Life. This value is also transformed everyday life and is known the meaning of censorship. The theater is allowed to occupy in contemporary regionalism, to begin to publicize the need to expand horizons and be realistic. The transformation is an essential stage in the visual reinforcement that has been undertaken, it is now the city.
modernist values \u200b\u200bembedded in the dramatic tasting, includes a language closer to the true representative of the upper class, so that builds the credibility of the dialogue as an essential part of the set, and it goes beyond the author decides to play with the elements of language and phrases to reinforce the intention of transforming them into victims of ironic genius. However
time happen again brought political developments back to the theater a tool of the complaint. The critical subtlety of the messages, were the main form that is worth the playwrights to express their dissatisfaction with the social situation. For the first quarter of a century in Mexico, the values \u200b\u200bof the revolution have caused a deep void. The mask under which the system is transformed into an institution, is sustained by violence and deceit. Rodolfo Usigli with the gesticulating, exercise more sagas suggested the potential of the theater, leading to political and social criticism. His language transforms each of the actions, as behind many of the dialogues are the hints that the author throws the viewer, leading to his identification with the problems of the moment. Besides the language lends itself to convert credible environment, despite the neat thing about the situation. The values \u200b\u200bthat underpin society must again be put to debate, because the anger is part of social consciousness. The characters are motivated in their actions by a search for meaning. Constantly reiterated their moral positions, what the distance, knowing that reality is corrupted by power.
In the next issue will realize how theatrical values \u200b\u200bevolve again, this time with the founding of the academy and theater career, which led to professionalize the performance on stage and experiment with new trends emerging in Europe.
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Some notes on the evolution the theater in Mexico during the twentieth century 1


Liróforo Gabriel Velázquez The Toledo
Some notes on the evolution of theater in Mexico during the twentieth century
Part 1
Theatre in Mexico has always had a special place. If we apply the theory of Antonin Artaud, presuppose that since pre-Columbian ancestors, there was a dramatic burden on the military and religious ritual they undertook with great perseverance. The Indians were retrained under the principles religious Christianity, which was based on the ritualistic-made plays, as the mystery plays, which popularized and eventually degenerate into festivals and other paradoxes. Cultural predisposition to visual spectacle mass led to the theater to have a special place in the critical respect of society in the first half of the twentieth century in Mexico.
The opera occupied in Mexico, in early twentieth century, a very important place in society, within the entertainment possibilities of the bourgeoisie porfiriana this particular, enjoyed a prestige, above the influence that France had in the Diaz government.
soon for the theater, as its experimental release was given, in a climate of political tension and military, commercial exploitation led to the creation of popular alternatives to these shows, close to the economy, criticism which has lived in the country, the climate under which generates and popularized theater magazine and definitely the theater distance dramatic spectacle that defied criticism and intelligence.
Opportunity for playwrights, to be able to express their feelings and ideas in popular reference with more impact, far into journalism, became the Office of the theater in a window that opened the expectations of promoting the acquisition of suitable ideals state. The effort was directed toward the intellectual formation of a generation whose defenses would sit under the principles of national art.
The breaking of the theater under the patronage of the state, generated a different show, free to express their ideas, aiming to regain the lead creative and motivated to experiment.
As the drama evolves in its dynamic, themed and exposure, you can place the common elements which reflect the main features of an era, such as social thinking, values, search and experimentation. Through language, the characteristics of the characters and the planning and development actions, are just some of the factors that show the common need of each generation, offering an alternative to what has been granted as social fee.
In early twentieth-century theater is seen as a mass spectacle. The values \u200b\u200bof traditional society are reflected in the customs. The theater is no exception, trying to reconcile a number of ideas between different societies that prevail in the ideological apparatus. Federico Gamboa shows us in his book The Revenge of the soil, further work has to anchor under a common enemy of the spectator pro-establishment, the people.
Poverty is everywhere, while the elite enjoyed its privileges. A society applicant who is about to turn to revolt, as they have nothing to lose, in the midst of this environment, a moral dilemma that aims to find a point of identification with the actor.
In subsequent parts will realize some emblematic works for the Mexican theater and the way that the theatrical paradigm shift took place.
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