In the three epochs of its history (pre-Columbian, colonial, independent) Mexico has always been one of the epicenters of spectacular activity in Latin America. There are no dramatic texts from pre-Columbian Mexico, except for the Rabinal Achí of the Maya-Quiché, a ballet-drama of unequivocal originality, but there is no doubt that various forms of religious and profane spectacle (ritual, evocative, legendary, propitiatory dances and choreographies, etc.., mimes and ballets, satirical-grotesque farces with actors disguised as animals, etc.) were practiced, especially on the occasion of religious and popular festivals. The decisive proof of the importance of the pre-Columbian spectacle is the fact that the Spanish missionaries, immediately after the Conquest, they used it as an effective tool of evangelization, substituting Christian themes for indigenous ones, but leaving the choreography intact (to the point that a regional council forbade, in 1585, the performance in church of secular songs, dances and comedies). From Spain the feasts of Corpus Domini were imported, which always took place in the open air, with lasting success and wide use, alongside Castilian, of indigenous languages. Folk performances, with masked dances, still take place in many locations in Mexico to celebrate Our Lady of Guadalupe, patron saints, and Christian holidays (Christmas, Holy Week) in typically mestizo ways. During the colonial era, a particular type of theater was that practiced in seminaries and religious colleges (especially of the Jesuits), while the siglo de oro. However, there was no lack of local contributions of primary importance, starting with the great Ruiz de Alarcón (1581-1639), whose plays, performed and published in Spain, have a place of singular importance in the thick theatrical panorama of the century. Independence loosened relations with Spain, but did not interrupt the theatrical activity, fueled by local authors, first romantic and then realistic. According to computerannals, today Mexico City is one of the undisputed capitals of entertainment in the Hispanic world, with about twenty active theaters, a Palacio de Bellas Artes, a state center of fervent activity. Among other things, the Ballet Folklórico de México operates here, an artistic complex of the highest international level, founded in 1952 by Amalia Hernández, with some students of the modern dance section of the Instituto de Bellas Artes. Mexico City is also home to the Ballet Nacional de México founded in 1949 by Guillerma Bravo. The School of Dramatic Art, established at the Universidad Nacional (and later at other universities), the foundation of various student theater groups of essay and avant-garde and the now rich national repertoire (main authors Usigli, Magaña, Luisa J. Hernández, Carballido, Solórzano, Leñero, Basurto) have contributed to creating an atmosphere full of dignified results and sure promises. The sixties were particularly lively for the theater when different and contrasting lines of inspiration were successfully confronted. There were Maruxa Vilalta with the “absurd” theater, Héctor Azar with the poetic one, Hugo Argüelles with a rather aggressive satirical theater, Vicente Lenero with the testimonial and denouncing one. From this lively scenario drew new strength and vigor playwrights with a solid tradition behind them, such as Josefina Hernández (b.1928) or Felipe Santander (b.1929), Rafael Solana (b.1915), Emilio Carbalillido (b.1925), Luis G. Basurto (b.1925). In the meantime, a new group of authors began to form, including Juan Tovar (b. 1941), Oscar Liera (b. 1942), Hugo Hiriart (b. 1942), which in a few years would establish itself as the “new generation” of contemporary Mexican theater.
