University Theatre and Contemporary Politics in Mexican Society

8/2/2019 University Theatre and Contemporary Politics in Mexican Society

http://slidepdf.com/reader/full/university-theatre-and-contemporary-politics-in-mexican-society 1/11

University Theatre and Cultural Politics in Contemporary Mexican SocietyAuthor(s): Roselyn CostantinoReviewed work(s):Source: Hispania, Vol. 78, No. 1 (Mar., 1995), pp. 205-214Published by: American Association of Teachers of Spanish and PortugueseStable URL: http://www.jstor.org/stable/345247 .Accessed: 21/03/2012 06:37

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of

content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

American Association of Teachers of Spanish and Portuguese is collaborating with JSTOR to digitize, preserveand extend access to Hispania.

http://www.jstor.org

http://www.jstor.org/action/showPublisher?publisherCode=aatsp

http://www.jstor.org/stable/345247?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp

http://www.jstor.org/page/info/about/policies/terms.jsp

http://www.jstor.org/stable/345247?origin=JSTOR-pdf

http://www.jstor.org/action/showPublisher?publisherCode=aatsp



THEHISPANIC AND LUSO-BRAZILIAN ORLD

Prepared byT Edward Harvey

University Theatre and Cultural Politics inContemporary Mexican Society

Roselyn CostantinoPennsylvania tate University-Altoona

Abstract: Historically,heatre nd pectacle n LatinAmerica ave played nactive ole n the constructionofnation-states ndnational dentities-and n the resistance oconsequent egemonic omination. ecentmoves oward emocracynMexico, hallenginghemonopoly fthe state-party ystem, oincidewitha callfor the "democratization"f Mexican ulture nd or an articulation f the cultural iversityhatcharacter-

izesthat ociety.Aspolitical, conomic, nd ocial rises mpact ultural roduction, exico'sNational u-tonomous niversity asdevised series ofprojects o revive ts strong heatre radition nd o offer moredemocratic ccess o resources or heatre ctivity. rojects avebeen aunched ostimulate reative xperi-mentation, et questions riseas to whether his"new heatre" nda newgeneration ftheatre ractitionersare challenging nd ubverting egemonic ultural ndpolitical iscourses r whether heyare simply ein-forcing hem.

KeyWords: 0thcentury,Mexican iterature, exicanheatre, ultural tudies

Hacer teatro en Mhxico s como anzar untrasatldntico.

Oscar Vega (PI)1I. Theatre as Political Act. Politicsas Theatre.

The historical nature of the relationshipbetween spectacle and politics s well docu-mented. In Theatre fCrisis, Diana Taylorpoints out that the role of theatre in LatinAmerica extends beyond symbolic repre-sentation on the proscenium; since pre-Columbian ivilizations, heatre and spec-tacle have played an active-albeit contra-dictory-part in the political and spiritualprocesses of self-affirmation nd self-iden-tity, and in the empowerment fthose con-testing that domination Taylor 21-23).

The 1994 Mexican presidential electioncampaigns provided an abundance of spec-tacle as Mexico began the process of open-ing up a political ystem monopolized ythePartido Revolucionario nstitucional PRI)for over sixty-fiveyears. For the first time,nine oppositional andidates were guaran-teed and took advantage of access to themass media, especially elevision. This "ap-pearance" n.the political stage of opposi-tional voices positively mpacted he Mexi-

can citizenry, which responded with in-creased nvolvement n the 1994campaigns,in the voting process, and in subsequent,post-electoral ivic resistance.

This apparent move toward democracycoincides with a call for the "democratiza-tion" of Mexican culture; hat is, to recog-nize the pluri-cultural ature of Mexico andto provide paces and resources or the con-servation nd stimulation f a variety ofcul-tural manifestations f a society character-ized by the coexistence ofa number ofcom-munities and symbolic systems (Canclini32).According oRafaelTovar y de Teresa,president of the Consejo Nacional para aCultura las Artes, the government's oalshave been and should continue o be:Hacer una politica cultural realmente nacional queforme parte del bienestar ocial; ograr una aut6nticadescentralizaci6n e los bienes y servicios culturales;ampliar a asignaci6n de recursos para a cultura yaplicarlos de la manera mas democraitica osible.(Qtd. n de Ita D16)

The success, or even the honesty, ofthiscultural project s challenged n the work ofsuch critics as William Rowe,Roger Bartra,



206 HISPANIA 78 MARCH 1995

and N6stor Canclini. nMexico, the neolib-eral economic policyofPresident SalinasdeGortari (1988-1994), while launching

Mexico nto what he labels the "first world"and into the global market, has producedincreasing evels of poverty and alienation(Becerril), esulting n social ruptures uchas the January 1, 1994, ndigenous uprisingin Chiapas and sporadic esistance n otherstates such as Guerrero and Oaxaca.

As with other Latin American ountries,such political, economic, and social crisesand ransformations mpact ultural roduc-

tion (Uslar Pietri). In Mexico, through the1980sand nto he 1990s, heatre productionand attendance have been negatively af-fected by a variety of factors: economic re-cession and the concomitant ack of infra-structure to sustain continuity in artisticproduction; he impact of the influx of for-eign, specifically U.S.,cultural roducts andconsumerism; he stagnation ftheatre pro-duction due to rigid hierarchal nstitutions

and adherenceto traditional director-cen-

tered" theatre; the pervasiveness of massmedia and other forms of entertainment;and direct and indirect censorship via gov-ernment monopolies on mass media andcontrol of grants for scholars and artists.2

In response, the recent administration fthe National Autonomous University ofMexico (UNAM) Center for Theatre andDance has launched a series of innovative

projects,he goals ofwhich nclude he pro-

duction and diffusion of censorship-free,quality art by a wide variety of artists inmyriad styles. The question arises as towhether these efforts to revive the histori-cally strong theatre radition n Mexico areoffering more democratic access to re-sources for creative activity, and if the re-sulting productions reflect a "plurivisi6n,"a plurality of perceptions and representa-tions of Mexican reality. Of interest here isthe dynamic relationship between Mexicansociety in transition and this recent univer-sity theatre, and the extent to which theUNAM's projects revitalize theatre produc-tion in Mexico in the current climate of cul-tural politics.

II. The University and NationalCulture

Within the history of modern LatinAmerican heatre, university heatre has along tradition of creativity and experimen-tation. Although case histories vary, thistheatre responds critically to repressivegovernments' hegemonic discourses, andto imported ndcolonizingWestern culturalmodels; it is always n search of spaces inwhich to forge artistic dentities based onever-changing oncepts of national reality.

Examples of such resistant activity in-clude university heatre n Chile where, dueto lack of support or theatre from the gov-ernment or commercial nterests, in 1941,the National University ounded Expermen-tal University heatre. his project auncheda movement which defined, developed, andtransformed Chilean theatre into one ofLatin America's richest sources of theatrearts. In Bolivia, ince the 1950s, he Univer-sities of San

Andr6s'and Sucre's theatre

workshops, symposia, and schools havesought to produce heterogeneous nationaltheatre that more accurately reflects theethnic and class diversity of that complexsociety-this in the face of governmentalcensorship and violent ntervention. n the1960s Columbian university theatre, insearch of continuity n theatre productionviaformal, tructural nd hematic homoge-neity, founded heatre estivals which gaveform to "new" Columbian national heatre(Perales 143-46).

This tradition inds its zenith n Mexicanuniversity theatre spaces, which, since1937,have provided a privileged venue forexperimentation nd consolidation of newscenographic forms, and a forum for thenation's most divisive social issues. Mexi-can university heatre is not "school" he-atre, but professional, semi-professional,and student theatre supported by the Uni-versity. The UNAM serves as a venue fornational theatre, with a strong tradition ofcreative excellence due in part to the "au-tonomous" nature of the University whichshields it from government censorship.Some of Mexico's most outstanding literary



THE HISPANIC AND LUSO-BRAZILIAN WORLD 207

and artistic figures-Octavio Paz, CarlosFuentes, Elena Garro, Maria LuisaMendoza-participated n creating heatre

that reflects national and international ra-ditions, heatre hat responds oand precipi-tates change n the socio-historical ontext.

Within Mexico, the UNAM's culturalproject, under which the university heatreprogram was developed and is supported,coincided with the revolutionary pirit ofthe early part of this century and served asa model for experimentation nd creativeexcellence. As early as 1929,Mexico passed

the LeyOrgdnicawith he philosophical ndintellectual upport of such figures as JustoSierra and Jose Vasconcelos. This act ncor-porated nto the University he impulse ofthe 1910 Revolution n an effort to protecteducation ndculture rom deological om-promise. This imperative established as aprimary unction of the UNAM "elextendercon la mayor amplitud posible losbeneficios de la cultura"-a dictum hat es-tablished one of the most

ambitiousultural

projects n all of Latin America. As the au-thors of a chronicle of the UNAM's activi-ties point out:

Muy pronto, al nacer del siglo, la cultura mexicana-hoy diversa y fortisima-encontr6 en la Universidadel conducto 6ptimo para su multiplicaci6n el terre-no propicio para u creaci6n y recreaci6n ncesantes.Los movimientos artisticos, as vanguardias ultura-les, las polemicas ntelectuales, os experimentalismosest6ticos que a veces se revelarian ambi6n omo for-mas nuevas del

comportamientola

convivencia o-ciales encontraron y encuentran en la universidadapoyo e impulso. (Crdnica 3)

This imperative ecognizes the dynamicrelationship between the cultural artefactand the context in which it is generated,between the dailyhabits and forms of a par-ticular people and their art. The UNAM'sCoordinacidn de Difusidn Culturalchronicles such avant-garde roups of art-ists as the Ateneistas del Ateneo de la

Juventud,the Contenmpordneos, oesia en voz

alta, and the cultural journals Revistas de laUniversidad, Los Universitarios, and Puntode partida. These are offered as the"m~rimos exponentes" of the rich legacy ofinternationally recognized avant-garde ar-

tistic activity.Today, the UNAM's promotion of "las

mUiltiples manifestaciones de la cultura

urbana" Crdnica 15) is impressive. Theuniversity, Mexico's "Maixima Casa deEstudio," produces annually more thantwenty housand ctivities: 50conferences,1,200courses, 150 art exhibits, 400guidedtours, 650concerts, 4,500cinematographicprojections, 1,700 heatre shows, 300radioand 50 television shows. With over 500,000students at the main campus in MexicoCity, t supports and exchanges with some

50 institutions oth n and outside he coun-try and reaches some 20,000 students atextension sites (Crdnica 5-16).

Mexico's National AutonomousUniversity's edication o the generation ofcultural activity and creative excellence re-sulted in an infrastructure hat permits ev-els of experimentation rom which nation-ally and internationally ecognized heatrehas emerged, especially during he decades

of1950s

through the 1970s. At the sametime, however, this institutionalization sblamed for a cultural politics that, accord-ing to some, stagnates heatre activityand,in the opinion of others, centralizes re-sources resulting n the marginalization fmany sectors of the artistic community.

III. Recent University Theatre inMexico

Recent efforts of the UNAM's Coordi-nacidn deDiusidn Cultural, pecifically tsCentro de Teatro Danza, reflect a contin-ued optimism n the social benefits of suchcreativity. he efforts are guided by specificgoals and claim a number of successes af-ter little more than one year of production.

Under the direction of Alejandro Aura,the Centro de Teatro Danza began to de-velop programs allocating the budgetedfunds to support a wider variety and num-ber of artists and projects. In January, 1993,the Centro came under the direction ofIgnacio Solares, award-winning playwright,novelist, and recent winner of the presti-gious national award for cultural ournalism.Solares, with a new administrative staff and




advisory board, launched a series ofprojects designed to "reafirmar os perfilesdel teatro universitario. Esto por muchas

circunstancias se perdi6 o se diluy6.Queremos volver a encontrar, enamorar,cautivar un pfiblico, a traves de laspropuestas del teatro universitario que esteatro de bisqueda" (Crestani PI).

The advisory board s an important ddi-tion to the Center's nfrastructure nd, ac-cording to the directors, reflects the phi-losophy of"plurality nd democracy" fthisnew administration. he council reviews all

proposals, elects those to be funded, allotsthe amount of financial upport, nddecidesthe theatre forum n which the project willbe produced. This process is in response topast criticism of preferential reatment andnepotism hat left many marginalized romthe system. Thus, to "democratize" he wayin which monies are allotted and projectsare funded (and n which theatre practitio-ners are permitted o practice heir art), acouncil of five

members,all

recognizedwithin he artistic world, udges the "merit"of each proposal. This year's council in-cludes Ignacio Solares (presiding officer),Jose Ram6n Enriquez playwright, ovelist,poet, director, actor, and director of theNational Center for Theatre ResearchRodolfoUsigli), Victor Rasc6n Banda (play-wright), Jos6 Santiago (scenographer),Gloria Concredas (choreographer), andHugo Hiriart playwright, ovelist,director,and artistic oordinator f TeatroArte antaCatarina). Between January ndJuly, 1994,over 200 projects were submitted to thecouncil, a sign of the enthusiastic participa-tion generated by the UNAM's project.

There is a notable absence of theatre di-rectors on the board (the members aremostly playwrights). During he numerouspersonal interviews conducted for thisstudy, many older and younger theatrepractitioners commented on the effects onMexican theatre of the strong personalitiesof directors during the last decades. Theseeffects have included the stagnation of cre-ativity, especially as concerns the youngergeneration. Without denying the impor-tance of these directors, this administration

seeks, through several projects, o encour-age a more integral participation f theatrepractitioners n all those activities elated o

production. The specific projects vary indesign, but all have as a primary goal thesupport of new approaches o the creation,production, and promotion of this artisticactivity.

Continuity n the use of the University'stheatre orums s a primary oncern. Thus,a series of "cycles" was organized, n whichproductions would be continuously pro-grammed. The first cycle, Ciclodegrandes

directores, elebrates the most recognizeddirectors of Mexican university theatresince 1937,those who established the uni-versity tradition which is seen as the foun-dation of modern Mexican theatre. JoseRam6n Enriquez xplains:

Viendo como el mundo de teatro en Mexico es unmundo muy fragmentado, muy peleado entre si, pe-quefio pueblo donde as historias son antiguas y mo-dernas, Solares quiso aprovechar el hecho de que 61

personalmente proviene de la dramaturgia maisquede la puesta en escena, pues podia convocar in plei-tos. Creo que es el primer dramaturgo ue ha ocupa-do el puesto. Antes han sido directores. Se le ocurri6el ciclo de los grandes directores. Vamos a llamar aaqu6llos que hicieron el teatro universitario n distin-tas 6pocas para el Teatro Juan Ruiz de Alarc6n. PI)

In this cycle, assigned to the most presti-gious of forums, Teatro Juan Ruiz deAlarcdn in the Cultural Center of theUNAM, appear such names and plays asIgnacio Retes (La chunga), he oldest ivingdirector since the founding of TeatroUniversitario; Luis de Tavira (Jubileo) heyoungest; Hector Azar, (Inmaculada); uanJose Gurrola (El kacedor de teatro); JoseLuisIbanez La vida essueffo); uan binez3;Hector Mendoza; and Ludwig Margules(Luz de luna. Tiempo defesta). "Estos,"explains Enriquez, "representan losm~ximos exponentes de este teatro desdePoesia en voz alta de 1937, 25 afios de gen-tes sobresalientes" (PI). Solares, director ofTeatro y Danza, suggests that by attendingthis cycle in the Juan Ruiz Theater, the au-dience is "guaranteed theatre of quality."

One might question, as many inter-viewees did, the very concept of "quality"




theatre, a concept perceived as a perpetua-tion of the status quo. Whereas this cyclereflects for some the reaffirmation f the

foundations f the tradition f excellence inMexican theatre (Enriquez PI), for othersit represents another attempt o impose thevisions of the art form and perceptions ofMexican reality of a cultural lite.

The second cycle, Teatro nacional, cel-ebrates Mexican national theatre and au-thors, or Mexican translations of interna-tional classics. The works are presented nanother of the Center's forums located in

the Centro Cultural of the UNAM, TeatroSorfJuana nds de la Crz--recognized asan ideal space because of the intimacy withthe audience that it affords. In this forumhave appeared r are scheduled such famil-iar names as Juan Tovar (El contrafaso),Luisa Josefina Hernandez (Las bodas);Hugo Argtielles (El cerco de la cabradorada); Sabina Berman; Ignacio Solares(Infidencias); and Vicente Lefiero. Rela-

tivelyunfamiliar ames have also

appeared,indicating he successful efforts o supporta wider variety of aesthetic projects and art-ists, many of them forming part of a newgeneration. These include Gabriela Ynclkin,Leonora zcdrate, stelaLefiero Habitacidnen blanco) LuisMarioMoncada (Exhivisidn),and LuisEduardo Reyes (La miltraumas).

What has been important or the advisoryboard s that this forum not dictate apriorian aesthetic direction or national heatre,but that rom he variety of styles, a nationaltheatre begin to emerge. The diversity ofaesthetic projects and thematic concerns,especially in those works by the youngergeneration, makes evident o the spectatorthat "national" heatre does not indicate acoherent, homogenous project, and pointsto the initial success of this second cycle.

The third cycle is Teatro Arte SantaCatarina, a project designed to stimulateavant-garde heatre and experimentation ygiving space and support o many new andup-and-coming rtists, and by reformulatingthe infrastructure of theatre production.Enriquez explains:

Lo que necesitamos en este pais son espacios distin-

tos, plurales de expresi6n. Yo creo que independien-temente de la gran calidad que durante mucho tiem-po ha tenido el teatro universitario, por el exito eimportancia e ciertas grandes figuras de teatro, hasido muy dificilpor el peso de estas grandes figurasque surjan nuevas cosas. Yocreo que el equilibrio deun teatro nacional s que deje de ser nacional, que seabra a todas las posibles corrientes, que no formeparte de una sola escuela, al mismo tiempo que sefortalezcan las mAs menos probadas. ...]Y en estesentido sirve el tercer ciclo,Santa Catarina. Hay deasmuy interesantes, odavia no suficientemente uaja-das, hay j6venes autores y directores que quierenprobarse, que necesitan probarse en el escenario,entonces la idea de Hugo Hiriart permite esto. Mu-chas de estas 200 propuestas erminan alli, al gustode sus autores. Con minimo de presupuestos, o quenecesitan es el espacio, que se expresen, que se prue-ben; para dar el paso, hay que subir al escenario. (PI)

Beyond hese three cycles, the Direcci6nde Teatro y Danza also sponsors he AnnualUniversity Theater Festival in which thestudents of the colleges throughout theUNAM system in the urban area of MexicoCity compete in seven different orums ora two week

period. From some 60 groups,three works are selected for awards andincorporated into the Santa CatarinaProject. This is not professional ut studenttheater. Besides these projects, here s the-ater in "alternative" paces, such as in theopen-air forum in the Historic Center ofMexico City,La cdrcelde La Perpetua, ncethe site of the Mexican Inquisition and aspace that draws a distinct audience fromCentro Cultural, due mainly o its locationand accessibility o those living n the down-town area. The audience is visibly more"popular." The UNAM also coordinatesRadio UNAA, which produces radio the-ater, such as the dramatization, n 1993,ofCarmen Boullosa's pirate novels Son vacas,somospuercos and El mdico de lospiratas.

IV. Teatro Arte Santa Catarina

It is in Teatro Arte Santa Catarina hatsome of the most innovative nd nterestingprojects have surfaced, many in direct re-sponse to the aforementioned crises inMexican heatre.

Early n 1993,dramatist, ovelist, and es-sayist Hugo Hiriart proposed a project n-




tended to permit more artists o create the-atre. Named the director of Teatro ArteSanta Catarina, he designed the followingprogram: series of "cycles" or the produc-tion of ten plays meeting specific criteria,each during a period of one month. Withinthe cycle a play would have four or fiveper-formances-the same night ofthe week fora month-featuring twoplaysper night. Forinstance, every Monday night in July, denudos by Victor Weinstock and Loselementos e amor, a collage by various au-thors, were performed: irst show at 8:30,

the second at 9:45. A time limit of 1 1/4hours is placed on the pieces, and sceneryhas to be easily movable, since five days aweek, two plays per night are performed.Another element introduced by Hiriart s alimit of four to six weeks of rehearsal ime(time that the group actually has access tothe Santa Catarina pace). Budget allow-ances are modest: $1000.00per group plus80% f the box office-this amount, divided

among all group members, for approxi-mately five weeks of every-day ehearsals,and one month of production.

The idea behind the inclusion of the boxoffice intake is to personally involve thegroups with publicity-a motivating actorto promote themselves and theatre. Thisarrangement lsoeliminates a mode ofpro-duction not only paralyzing o the art form,but demoralizing and marginalizing to

many groups:according ovarious practitio-

ners, the normal approach s to gather thegroup, rehearse from six months to twoyears, go door to door looking for a spon-sor, often to find none. Thus, all investedtime and money are ost. Commercial nter-est in theatre in Mexico has waveredgreatly-partly because of the size of manyproductions (spectacular Broadway-style,commercial heatre) and the loss of audi-ences to other forms of entertainment iketelevision and the video industry. (InMexico City, a successful chain of videostores now offers home delivery.) In orderto recover nvested ime and money, a showneeds between 50to 100representations-difficult and risky, with few recent produc-tions capable ofsustaining uch interest. As

a result, many worthwhile productions arenever seen. The artistic drain caused by themovement ofmany heatre actors and prac-

titioners to T.V. and movies is also attrib-uted to this economic and cultural reality.Thus, by reducing economic risk, creatingmotivating actors, and changing modes ofproduction, roject Santa Catarina directlyaddresses many of the factors consideredto be the cause of stagnation n theatre pro-duction, quality, and creativity. The earlyresults are interesting and promising. Sev-eral productions, after a period of experi-

mentation and re-working n this project,moved on to other university, alternative,and commercial orums: de nudosby VictorWeinstock; Trabajo sucio by LeonorAzcairate, a mil traumas by Luis EduardoReyes (allpart of the "new" eneration), ndDescr:icidn de un animal dormido yHugoHiriart, mong others.

One mportant ormulating oal bears di-rectly on the modes ofproduction, lthoughit deals with aesthetic issues. Oscar

Vega,assistant director of Santa Catarina, ex-plains he efforts o rethink he representa-tion of a dramatic ext not as a finished prod-uct, but rather as a process through whichworks develop and emerge:

Queremos omper l mitode la obra erminada uesurgemuchas ecesdetenerquehacer na obra arauna emporada e 50funciones. ncambio, esteex-perimento] ospermite ensar n el trabajo omoun

proceso.Estamos ratando erescatar nMexico as

caracteristicas ue son propiamente e teatro; decrear na ensiblidad elpdiblico:arelaci6n specialentre a obra el puiblico;a celebraci6n eun actoefimero. s distinto cualquier tromedio. PI)

The idea is notto recapture audiences ostto T.V., cinema, Nintendo, or MTVby com-peting with these forms of entertainmentand communication, ut rather o educatethe audience to the differences betweenthem, underscoring hose characteristics ftheatre that make it an unique, enlighten-ing, and entertaining experience.

By creating a forum where real experi-mentation can take place, Hiriart, Vega, andmany writers, directors, scenographers,actors, technicians, and critics are con-vinced that the wealth of creative energies




previously shut out of theatre productioncan be tapped into, given a space. Thus,Santa Catarina introduced specificchanges designed o end the reign of "direc-tor" theatre in Mexico, in which certain"figuras consagradas" have, according tomany, imposed a style of production hatnot only demeaned he authors and actors,but led to a theatre of"images" n which theshock value of exorbitant et designs over-shadows the text and diminishes audienceparticipation. This criticism has been lev-eled against some recent De Tavira, Azar,

and Mendoza productions. Without under-estimating he importance nd centrality fthese figures in Mexican theatre history,there is a call to end what s criticized as anego driven, authoritarian pproach o dra-matic creation. The proposed change rec-ognizes and values the creative nput of allpractitioners esponsible or the final prod-uct. In Mexico, the land of literary "mafias"and the cult of "Sacred Cows" hroughout

its sociocultural and political institutions(borrowing rom Carlos Monsiviis), thisapproach-different from collective the-atre-is welcomed. The intellectual ndcre-ative exchange has resulted in a greaternumber of practitioners collaborating indifferent apacities n each other's projects,and in the enthusiasm o continue produc-ing, though economic recompense is stillless than ideal.

V. In Search Of an Audience

Several other programs of the Direcci6nde Teatro y Danza de la Coordinaci6n deDifusi6n Cultural de la UNAM attempt oreach a wider audience. The Jornadas deTeatro roject, o-produced with he MuseoNacional de Historia, tilizes heaters oftheChapultapec ark Castle, a popular ommu-nity site frequented by a wide variety ofMexicans, especially on the weekends.With five works programmed during week-end afternoons, Jornadas de Teatro, part ofa project called Teatro extramuros, unctionsto "sacar aquellos productos de calidad yhacerlos llegar a espacios y a un piiblicodiferente del que habitualmente asiste a la

UNAM" Escarcega n Salinas); "darles alpiblico, en areas de esparicimiento, unmejor y maisalto panorama de alternativas

culturales" De Lara, qtd. in Salinas).Similarly, n the theaters of the Cultural

Center of the UNAM, plays are pro-grammed on Saturday and Sunday after-noons, in order to offer to the many Mexi-cans who use the campus or weekend rec-reation the possibility of seeing theatre.Beginning as a forum or children's heatre,this space featured such productions asSabor de engano by Mexican playwright

Victor Hugo Rasc6n Banda, with a very fa-vorable response from the spectatorswhose numbers are often greater than fornighttime performances Enriquez I).Thepositive results demonstrate hat raditionalschedules of shows (oftenat 8:00-8:30p.m.during he week) need to be examined andadjusted o the reality of Mexican urban iv-ing.

These efforts to reach a broader audi-

ence, based on a commitment o the socialas well as cultural value of theatre, are animportant step toward the "decentraliza-tion" of cultural resources (Enriquez PI;Crestani PI). They are not without critics,however, who, referring o the allotment offunds and theatre spaces for the variousprojects, claim hem to be a superficial es-ture within he "same old" cultural politics(L6pez).

Thequestion

of financialupport provedto be very sensitive (several administrators

refused to talk about it with me). Initially,there was criticism of the amounts allottedthe cycle Grandes Directores relative tothose of Teatro Santa Catarina. Some art-ists, insulted by the original proposals, re-fused to participate, feeling once again"marginalized." onetheless, many heatrepractitioners have taken advantage of theopportunity he project offers.

VI. Theatre and Cultural Politics

Arif Dirlik posits that "culture is not onlya way of seeing the world, but also a way ofmaking and changing it" 26). Concomitantto the ambitiousness of the above projects




is the analysis of the role and ideologicalbasis of this University heatre, set withinthe context of a nation making definitive

moves toward fundamental change. Thistask s necessary obegin to understand herelationship mong contemporary Mexicansociety, its cultural production, and thecomplex network of relations ofpower hatcharacterize ultural politics. Culture s in-separable rom relations of power, and is aspace or series of spaces where popularsubjects, as distinct from members of rul-ing groups, are formed (Rowe 9), with ex-

isting popular cultures having aninterpenetrative elationship with mass cul-ture.4 Recent studies find problematic,among other things, the pretentiousness ofdiscourses hat mpose urban ultural mod-els to define a nation or a people. This isespecially so in Mexico, one of LatinAmerica's most diverse groupings. As earlyas 1901 Mexican Ezequiel ChAvez sug-gested that such programs assumed Mexi-

cans had been "ground by the mortar ofcenturies so as to form a single body withcertain homogeneity" in Rowe 10).

Such models may at best be utopianprojects of unification hat do not affect nthe same manner, as one must imagine, allcitizens iving he consequent experience of"homogenization." he term "utopian," e-noting the "ideal," although imaginary,eludes the consequences in real terms ofthis

project:he

perpetrationf violence hat

brought about the extinction of many ofMexico's indigenous languages, and thecontinued persecution and marginalizationof entire segments of society: women, ho-mosexuals, rural populations, ndigenouspeoples, etc.5

A pertinent question is, therefore,whether University-supported reative ac-tivity s a legitimate orm ofresistance othecultural lite when, in fact, although some-what removed rom he center ofpower, heUniversity stands in opposition, and hasdone so historically, o a larger, disenfran-chised segment of the population. The cul-tural production of this population has tra-ditionally been viewed as static and folk-loric, and disregarded rom the optic of a

Western cultural model.These considerations rame he research

and analysis of recent efforts of the UNAM

to create an infrastructure or the fundingand production ftheatre n response o theeconomic, political, and cultural crises ofthat country, nd ts efforts n the search ora plurality of artists and aesthetic styles.One may argue, as Rowe and Schelling do,that plurality s not a value-free oncept andhistorically

belongs to the liberal heory which allows that soci-ety consists in a plurality f interests, but gives to thestate the role of mediating them [... and] what stateshave actually done is to seek to homogenize culturein order to consolidate he power of ruling groups.(10)

Mexico's cultural andscape has changedand, as Renato Rosaldo uggests, "the deaof an authentic culture as an internally o-hesive and autonomous pace is untenableexcept, perhaps, as a useful fiction or a re-vealing distortion" 217).

The question arises how the politics ofthe cultural elite play a role in the not-so-obvious censorship resulting from the im-position of forms whose reference point isWestern culture. In other words, whichmarginal roups are able to articulate heiralternative perspectives in these spaces,given that, among other considerations, hepublic universities-although "free" toMexican citizens-are accessible to a rela-tively small percentage of the Mexicanpopulation, nd mostly n urban areas? t isnot at all clear whether alternative ulturalspace and production promoting sociocul-tural and political criticism, as their propo-nents suggest, actually ranslate nto trans-formational ction.

Because of, or perhaps n spite of, suchprograms ofthe University nd other Mexi-can cultural nstitutions, isible alterationshave occurred n the panorama f Mexicantheatre. The most salient are the diversityin themes and styles, and the number ofunfamiliar names. The exploration on stageof sexuality and erotic desire, (both maleand female, and hetero- and homo-sexual),and of new forms of intimate relationshipsin different and same-sex couples is an overt



THEHISPANIC ND LUSO-BRAZILIAN ORLD 213

challenge to religious and social norms.The representation fviolence (kidnapping,torture, rape, police brutality, tc.), and ex-

plicit criticism of the ruling party (PRI)andits leaders reflect he contemporary limateof the country. Many young practitionersattempt o break with the tragic and blackhumor ones and he realism hat character-ized the Mexican stage for over 40 years,since the dramaturgy f RodolfoUsigli.Alsoobvious s the global involvement f artistsin allprocesses of theatre production. Criticand playwright Jaime Chabaud Magnus

comments that with a redefinition of therole of the playwright n the "maquinariacompleja del arte dramitico," we find

el dramaturgo, ntes circunscrito sus cajones y es-critorio, en la actualidad o s61lo articipa desde susletras en stanby [sic] en el hecho teatral. El drama-turgo participa ahora de otros lenguajes de lateatralidad n su quehacer cotidiano, conjugando lpapel de contador de historias con el director, actor,escen6grafo, productor, romotor. D13)

This multidimensional ole,according oChambaud and many practitioners nter-viewed for this study, breaks with "elpleito-que no polkmica-director versusautor, que sign6 absurdamente lasrelaciones de la dramaturgia mexicana porun par de d6cadas" Chambaud). his newgeneration, trained by the "masters," n-cludes among many Luis Eduardo Reyes,Estela Lefiero, Raquel Araujo, Luis MarioMoncada, Victor Weinstock, Sergio Zurita,David Olguin, Jorge Celaya, AndriAnSotomayor, SilviaPelaez, Antonio Serrano,Arturo Sastre, Angel Norzagaray, GabrielBarcenas, Hernan Galindo, Philipe Amand,and Sandra F61ix. t participates n Univer-sity theatre, but seeks different esolutionsto the aesthetic, personal, social, and eco-nomic difficulties hat face a generation ofyoung Mexicans n a society in transition.

Although ome continuity s evident, onemight argue that this young generation sarduously working to discover new theatri-cal language to articulate their experiencesin a Mexico very different from that of theirteachers; a Mexico being transformed bytechnology, consumerism, mass media, andglobal politics and economics. The style and

content of their work reflect a frustrationwith and defiance of a state-party oliticalsystem unwilling orelinquish ower. Some

of this sentiment is visible in the theatreproduced within he National AutonomousUniversity's programs. Other manifesta-tions, perhaps he most critical, occur n al-ternative heatre paces. They emerge fromcollaborative projects with young theatrepractitioners rom other regions of Mexicowhere the emphasis on the autonomy andimportance of regional theatre projects snotable and reveals his generation's earch

for adequate esponses o Mexico's presenteconomic and social crises.Theatre, due to the immediacy of the

spectacle, s an ideal space for such explo-ration. Afuture ask willbe to evaluate whoof this generation s able to utilize the me-dium successfully (success measured indiverse forms), and which aestheticprojects are given access to the necessaryresources. Atfirst examination, he projects

of the UNAM's Center for Theatre andDance are a productive beginning and rep-resent part of a larger effort to open thatspace and energize the art form.

E NOTES

'Throughout his essay, "PI" efers to personalinterviews onducted n Mexicoduring 1993and 1994.

2During he NAFTA debates, fourteen newscast-ers and radio commentators ost their obs.A conver-

sation between NAFTA critics in Mexico and U.S.senators, contracted with TELEVISA, media con-glomerate with strong ies to the government, was cutoff, supposedly due to technical difficulties. Thisevent, however, s symptomatic f the organized anddeliberate efforts by the Mexican government tosquelch critics (de la Grange).

3Someplaywrights re scheduled for future pro-ductions. At the time of completing his essay, playtitles were unavailable.

4"Popular ulture" tself is at times a problematicterm, one used here to refer not only to urban massculture and the culture ndustry as does the StudiesinLatinAmerican opular ulture), ut nabroadersense to include regional cultures and oppositionalconnotations as does the JournalofPop lar Culture).

SSterilization, hysical buse and hreats, and mas-sive expulsions from their communities have beencited by the Consejo elRepresentantesndigenas e osAltosde Chiapas, s wellas by the UnitedNationsCommission fRefugees ndotherhuman ights r-




ganizations, as systematic strategies for the controland elimination f indigenous populations, specially,but not exclusively, n the southern egions ofMexico(Laornada 9).

E WORKS CITED

Aponte,David."Linea irectaSanCrist6bal-Vaticano."Lafornada 31 Oct. 1993: 1+.

. "Pase lo que pase, sere fiel a la Iglesia yal Papa: Ruiz Garcia" afornada 7 Nov. 1993: 1+.

Aranda, esus. "Cambia a nunciatura uimero e fax,ante el alud de mensajes de apoyo"Lafornada 7Nov. 1993:1+.

Barthes, Roland. Mythologies. rans. Jonathan CapeLtd. NewYork: Hilland Wang, 1987.20th edition.

Bartra, Roger. Lajaula de a melancolia.Mexico City:Grijalbo, 987.

Becerril, Andrea. "Cay6 l minisalario 7.5% n s61odos sexenios: Congreso de Trabajo." afornada14July 1994:14+.

Canclini, Nestor Garcia. "Cultural Reconversion."Trans. Holly Staver. In On Edge. The Crisis ofContemporary Latin American Culture. Eds.George Yudice, Jean Franco, and Juan Flores.Minneapolis: U of Minnisota P, 1992.

Chabaud Magnus, Jaime. "La aprehensi6n de ladramaturgia oven de Mexico." Reforma 9 June

1994:D13.Crestani,Antonio.Personal nterviews. ,8June 1993.CrdnicaMixico.Mexico City:Universidad Aut6noma

de Mexico, 1991.Grange, Betrand de la. "Nervous government puts

pressure on Mexican media." Manchester Guard-ian Weekly24 ct. 1993: . Originally rinted n LeMonde 12 Oct. 1993:np.

Dirlik, Arif. "Culturism s Hegemonic Ideology andLiberating Practice." Cultural Critique (1987):13-50.

Enriquez, Jose Ram6n. Personal Interviews. 11, 23July 1994.

Escobar, Olga Lucia."Hugo Hiriart. El chiste estA enentrar al detalle eatral." Macrdpolis 9July 1993:90-94.

Ita, Fernando de. "Tovar de Teresa por si mismo."Reforma 4July 1994:D16.

LaJornada. "Riesgo de zonas de miseria ante expul-siones en Chiapas: ndigenas." 9Sept. 1993:9.

L6pez, Maria Luisa. "Alzan a voz los mimos calleje-ros." Reforma 7Aug. 1994:D12.

Monsiviis, Carlos.Amorperdido. exicoCity:Edicio-nes Era, 1977.

Perales, Rosalina.Teatro ispanoamericano ontempo-rdneo 1967-1987). Vol.I.MexicoCity:Grupo Edi-torial Gaceta, 1989.

Reyes, Luis Eduardo. Personal interviews. MexicoCity. 11, 17July, 1993.

Rosaldo,Renato. Culture nd Truth.: heRemaking fSocialAnalysis. Boston: Beacon Press, 1989.

Rowe, William and Vivian Schelling. Memory andModerninty. Popular Culture n Latin America.London, New York: Verso, 1991.

Salinas, Adela. "Celebran on teatro su medio siglo."Reforma July 1994:D8.

Solares, Ignacio. "Entre elones, Ignacio Solares."Tierra adentro. Sept.-Oct. 1993:15-18.Taylor, Diana. Theater f Crsis. Drama and Politics

in Latin America. Lexington: UP of Kentucky,1991.

Uslar Pietri, Arturo. "La ndustria ultural." eforma.6 July 1994:A10.

Vega, Oscar. Personal nterviews. Mexico City. 14,21July 1993.

University Theatre and Contemporary Politics in Mexican Society

Documents

Transcript of University Theatre and Contemporary Politics in Mexican Society