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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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