From the Contemporary Group, about every twenty years there is a new generation of Mexican playwrights. Then critics and students are responsible for giving chronological corpus and put in place intrusion, the excesses, the jumps in time of each member to complete a file to be completed by thesis or essay disclosure, ie, increase the documentary collection universities and research centers.
In recent years, makers of hard work, more taxonomic review, ordering the Mexican drama, do not agree on how many generations of Mexican playwrights ranging from Novo, and Gorostiza Villaurrutia to the youth of this new century. It is said that six other five, some say seven.
happens all over. Every critic, researcher or dilettante, has his theory, or school of thought, or preferred subjects, regionalist, occasional.
In short, to enter the subject of young Mexican playwright, ie the latest and newest, rather, the authors who were born or born in the seventies and eighties, I have no hesitation in stating that I will be talking to my friends and one another known. The new Mexican drama is a monster poilicéfalo by young authors from around the country than in an average of six or seven years have been placed in the national theatrical horizon, awards, publications, productions, staged readings and theater groups, and thanks to communication systems virtual state grants, and theatrical events, we know quite easily who is the other side of the screen or the stage, nearly two dozen authors swarming.
Some benchmarks are needed: the National Playwriting Award for Young Gerardo Mancebo del Castillo, theater space Chapel director and producer Boris Schoemann in Mexico City, the National Exhibition of Young Playwriting in Santiago de Queretaro, the Festival of Drama Contemporary Lake House, The Grotto Forum Hellenic Cultural Center and other meetings in various parts of the country to be diverse, growing and integrating new voices.
of people who have walked these areas over Once names are my conclusions and the wind: Carlos Nohpal (DF, 1971), Concepcion Leon (Merida, 1972), Edgar Chias (DF, 1973), Mario Cantu (Monterrey, 1973), Jorge Kuri † (State of Mexico 1974), Rafael E. Martinez (Sonora, 1974), Alfonso Cárcamo (DF, 1974), Alejandro Román (Cuernavaca, 1975), Martin Lopez Brie (Buenos Aires, 1975), Mariana Hartasánchez (DF, 1976), Richard Viqueira (DF, 1976), Veronica Bujeiro (DF, 1976), Luis Ayhllón (DF, 1976), Noe Morales Muñoz (DF, 1977) Luis Santillán (DF, 1977), Alberto Villarreal (DF, 1977), Denisse Zuñiga (Mexico City, 1980), Hugo Abraham Wirth (Iztapalapa, 1981) and Alejandro Ricaño (Xalapa, 1982). For the missing, my apologies. Excel
concentration in the Midwest, specifically the capital. However, the quick ride north to deliver his credentials. Gulf Coast of Mexico, Xalapa is stay as a bastion not only of playwrights, but theater people in general and the Pacific is conspicuous by its absence, with the Guadalajara and Bajio. The South, condemned the sporadic appearances, remains in Merida their better future.
What does being an author of this young generation? Let's be honest, open the door to grants (state, national, even international) anthologies, a national playwriting award with an age limit, some assembly or staged reading a year, and followed more or less sensitive nature of much of the national drama society.
Is it enough? Nobody knows, just work, work on stage and give the answer print. For some, our elders, of course, far too recently achieved prominence that this handful of young writers. For others it is natural that grows through the media group and a group without standing in the theatrical map. I think the same thing happens with other literary genres, stands a lot, more or less colorful, which is taking over the motto of "youth" who once had their predecessors, until they can be anointed with the canon of criticism and taxonomy. Will be strengthened with more or less fortunate in the state subsidy system until the final tribute, whose reviews appear in local media.
Recently a renowned Mexican playwright, has publicly expressed contempt for this group of junior researchers. She lamented the lack of humility of some of its members, and adjectives, as expected for their generation. It is normal for most outstanding authors in years feel threatened his fief-especially in a theater like ours, which depends primarily State-and come to the vulgar disqualification.
often accused the young playwrights to have "suffered less misery" than previous generations. It is probably true, but who can blame a professional less than thirty five years to collect a scholarship, or copyrights of their work, or send your text to a contest? No one has become a millionaire as a young Mexican playwright. The money received is barely enough to buy a pack of condoms and pay a couple of drunkenness. At bottom, the main problem with the critics and of many renowned authors of Mexican theater is to be laid down in minutiae instead of checking the quality of the texts and oppose generational bias. Furthermore, it is no secrecy in our theater there is excess demand and poor supply of labor for a playwright (note how old you are). No professional, performing spaces as they fight in war, and decentralization is an unfulfilled dream. That is, there is misery for all. Enrique Olmos
Ita
Mexico, Hidalgo (Critical)
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