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 The actor in his driving to the shares depends on outdated family structures, aimed at the protection of rights, but with a consciousness that takes you beyond the limits accepted by the bourgeoisie, it violates your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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