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Florencio Sánchez and His Social Consciousness of the River Plate Region*

Published online by Cambridge University Press:  02 January 2018

Manuel D. Ramírez
Manuel D. Ramírez*
Affiliation:
Department of Modern Foreign Languages, University of Georgia, Athens, Georgia
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Extract

Strange as it may seem, the theater is probably the least known of the cultural manifestations of Latin America, despite the fact that its history can be traced back to the pre-Columbian civilizations of the Maya, Aztecs, and Incas. The first references to an indigenous theater are found in the second and third Cartas de relación of Hernán Cortés and in the Royal Commentaries of the Inca Garcilaso de la Vega. Only fragmentary evidence is preserved, unfortunately, of the considerable dramatic activity that took place during the colonial period. A few of the plays are known by tide, and still fewer have survived in manuscript form, until we come to those of Fernán González de Eslava, Sor Juana Inés de la Cruz, and the Mexican playwright, Juan Ruiz de Alarcón (1580-1639), whose comedias were produced in Spain during the height of that country's Golden Age.

Type
Research Article
Information
Journal of Inter-American Studies , Volume 8 , Issue 4 , October 1966 , pp. 585 - 594
Copyright
Copyright © University of Miami 1966

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Footnotes

*

Based on a paper presented at the Thirteenth Annual Meeting of the Southeastern Conference on Latin American Studies at the University of Miami, March 18-19, 1966.

References

1 Shedd, Karl E., “Thirty Years of Criticism of the Works of Florencio Sánchez,” Kentucky Foreign Language Quarterly, III (January-March 1956), 33.Google Scholar

2 “Florencio Sánchez y el teatro rioplatense”, Revista Interamericana de Bibliografía, XII (January-June 1962), 79.

3 Ibid., p. 75.

4 Imbert, Julio, Florencio Sánchez, vida y creación (Buenos Aires: Editorial Schapire, 1954), p. 71.Google Scholar

5 For a more complete summary of the thematic structure of his dramatic work, see Richardson, Ruth, Florencio Sánchez and the Argentine Theatre (New York: Instituto de las Españas, 1933).Google Scholar

6 Teatro completo, prologue by Vicente Martínez Cuitiño (Buenos Aires: Editorial “El Ateneo”, 1951), p. 531. All further quotations from Florencio Sánchez’ plays are taken from this edition.

7 Imbert, , Florencio Sánchez, p. 192.Google Scholar

8 Richardson, Ruth, Florencio Sánchez and the Argentine Theater, p. 177.Google Scholar

9 Ibid.

10 Imbert, , Florencio Sánchez, vida y creación, p. 89.Google Scholar

11 Richardson, , Florencio Sánchez and the Argentine Theater, p. 80.Google Scholar

12 Giusti, , op. cit. (see footnote 2), p. 76.Google Scholar

13 Goldberg, Isaac, The Drama of Transition (Cincinnati: Stewart Kidd Company, 1922), p. 237.Google Scholar

14 Quoted from Giusti, , op. cit., p. 74.Google Scholar