\u00a0<\/span><\/p>\nHowever,\u00a0while the first expressive forms of\u00a0Greek\u00a0dramas\u00a0evolved into a structured theater of a less religious and more\u00a0ordinary\u00a0nature, the\u00a0Are\u00edtos\u00a0disappeared from\u00a0Hispaniola\u00a0in the\u00a016th<\/span>\u00a0century,\u00a0just\u00a0a few years after the Spanish conquest.<\/p>\n\u00a0<\/span><\/p>\nTheater during colonial times<\/b><\/h2>\n
Settlers used theater to\u00a0spread\u00a0the Christian faith among natives, although not\u00a0all\u00a0plays\u00a0seem\u00a0to have been\u00a0religious\u00a0representations. In Volume II of his\u00a0History of\u00a0<\/i>the\u00a0<\/i>Dominican Culture<\/i>, Mariano\u00a0Lebr\u00f3n\u00a0Savi\u00f1\u00f3n\u00a0notes\u00a0that\u00a0\u201cstarting in\u00a0colonial times,\u00a0theater was\u00a0viewed as\u00a0a\u00a0popular source of entertainment\u00a0among\u00a0the\u00a0residents\u00a0of the city of Santo Domingo\u201d where\u00a0plays\u00a0imported from Spain and\u00a0interludes\u00a0and comedies written by\u00a0locals,\u00a0were staged.\u00a0<\/span><\/p>\nCultural activities\u00a0in colonial times\u00a0are\u00a0fragmented and have been\u00a0reconstructed from\u00a0bits and pieces\u00a0due to\u00a0the lack of documented information. Nevertheless, there are indications\u00a0of the existence of theater,\u00a0as Pedro Henr\u00edquez\u00a0Ure\u00f1a\u00a0indicates in several essays that appear in his\u00a0Obra\u00a0Dominicana<\/i>,\u00a0which was published\u00a0by the Bibliophiles\u00a0Society\u00a0in 1988. Some of these indications\u00a0are:<\/p>\n\n- The\u00a0interlude\u00a0of a comedy\u00a0by\u00a0P. Crist\u00f3bal de Llerena,\u00a0a local, which was\u00a0preserved\u00a0for\u00a0posterity\u00a0due to\u00a0legal proceedings.\u00a0Staged\u00a0in 1588, it\u00a0provoked\u00a0a great scandal\u00a0for its criticism\u00a0of\u00a0the\u00a0authorities\u00a0and\u00a0of\u00a0the economic policies that\u00a0were destroying\u00a0the island. Llerena\u00a0wrote\u00a0\u201ccomedies to\u00a0turn\u00a0the\u00a0celebration\u00a0solemn\u00a0and\u00a0to\u00a0delight\u00a0the people,\u201d\u00a0as Archbishop Alonso\u00a0L\u00f3pez de \u00c1vila\u00a0wrote to King Philip II on July\u00a016,\u00a01588.<\/li>\n
- A 1588 statement\u00a0by\u00a0student actors that\u00a0irreverent\u00a0performances\u00a0would be staged\u00a0in atriums\u00a0and not inside churches.<\/li>\n
- A\u00a0denunciation\u00a0in 1663\u00a0by\u00a0Archbishop Francisco de la Cueva Maldonado\u00a0of\u00a0the students who\u00a0wasted\u00a0substantial\u00a0time organizing theatrical\u00a0performances.<\/li>\n
- Another\u00a0denunciation\u00a0issued\u00a0in 1680 by Francisco Segura Sandoval\u00a0which\u00a0banned\u00a0the\u00a0staging\u00a0of\u00a0comedies\u00a0in the evening.<\/li>\n
- In 1771,\u00a0plays\u00a0were\u00a0staged\u00a0in\u00a0Governor Jos\u00e9\u00a0Solano\u2019s\u00a0palace.<\/li>\n
- Am\u00e9rico Lugo said\u00a0that\u00a0he\u00a0had seen\u00a0in Spain\u00a0the manuscript of a comedy\u00a0written\u00a0in Santo Domingo in 18th<\/span>\u00a0century\u00a0script.<\/li>\n
- Pedro Henr\u00edquez\u00a0Ure\u00f1a\u00a0himself saw in his childhood another similar manuscript\u00a0from\u00a0the\u00a018th<\/span>\u00a0century\u00a0among\u00a0his grandfather\u2019s papers,\u00a0the\u00a0magistrate and poet Nicol\u00e1s\u00a0Ure\u00f1a\u00a0de Mendoza.<\/li>\n
- In 1803,\u00a0during\u00a0the French period, the Regina\u00a0Angelorum\u00a0church was\u00a0converted into\u00a0a theater.<\/li>\n
- In 1806 the French government of General Jean Louis Ferrand offered a place to\u00a0stage\u00a0comedies. Sixteen officers and five ladies, all amateurs who sought to\u00a0\u201ctake advantage of\u00a0leisure\u00a0time,\u201d\u00a0played\u00a0all the characters, not always\u00a0to great results,\u00a0according to\u00a0M. Lemonier-Delafosse\u2019s\u00a0memoirs,\u00a0which were\u00a0published in 1846.\u00a0<\/span><\/li>\n<\/ul>\n
The\u00a0group\u2019s early theater performances\u00a0ended\u00a0with\u00a0Ferrand\u2019s\u00a0defeat\u00a0in 1808 at the hands of\u00a0Dominican\u00a0soldier\u00a0Juan S\u00e1nchez Ram\u00edrez,\u00a0who\u00a0restored\u00a0Spanish dominance\u00a0to\u00a0the eastern\u00a0side\u00a0of the island.\u00a0<\/span><\/p>\nUntil 1843\u00a0there are\u00a0no\u00a0additional records of theater\u00a0performances. In the\u00a0span of\u00a0those\u00a0thirty-five years,\u00a0Dominicans\u00a0experienced\u00a0traumatic events:\u00a0economic misery,\u00a0which intensified\u00a0during\u00a0the\u00a0Espa\u00f1a\u00a0Boba<\/i>\u00a0(Foolish Spain)\u00a0period,\u00a0Jos\u00e9\u00a0N\u00fa\u00f1ez\u00a0de C\u00e1ceres\u2019\u00a0short-lived independence, and the invasion\u00a0of\u00a0the Haitian army that imposed its dominance\u00a0for 22 years.<\/p>\n
<\/p>\n
Pro-<\/b>Independence Theater<\/b>\u00a0<\/span><\/h2>\nTheater\u00a0bolstered\u00a0efforts for\u00a0national independence. Its purpose was\u00a0transformational, and although it was the work of novices\u00a0that\u00a0improvised\u00a0theatrical\u00a0productions, its promoters\u00a0served,\u00a0above\u00a0all,\u00a0as\u00a0agents of change;\u00a0architects\u00a0of a world until then\u00a0unthinkable.\u00a0<\/span><\/p>\nIn the words of\u00a0philosopher Jos\u00e9 Ortega y Gasset:\u00a0theater,\u00a0however humble,\u00a0is always\u00a0\u201ca\u00a0Mount Tabor\u00a0where transformations\u00a0are achieved.\u201d\u00a0Juan Pablo Duarte,\u00a0an\u00a0independence\u00a0ideologue, used it as\u00a0a visionary genre. He\u00a0envisioned\u00a0a\u00a0future\u00a0essentially\u00a0free of chains.\u00a0<\/span><\/p>\nAccording to Joaqu\u00edn Balaguer, these\u00a0\u201cimprovised\u201d\u00a0actors,\u00a0\u201cwho\u00a0under the\u00a0passion of nationalism\u00a0became\u00a0admirable\u00a0interpreters,\u201d\u00a0revitalized\u00a0theater as an instrument of\u00a0the\u00a0revolutionary political struggle,\u00a0through\u00a0the Dramatic Society, an\u00a0extension of\u00a0La\u00a0Filantr\u00f3pica,\u00a0established\u00a0in 1840\u00a0under\u00a0the\u00a0slogan\u00a0of peace, unity and friendship, and the secret\u00a0purpose\u00a0of\u00a0spreading\u00a0the ideals\u00a0of independence.\u00a0<\/span><\/p>\nBoth organizations were preceded by La\u00a0Trinitaria,\u00a0an\u00a01838 clandestine movement\u00a0in which Duarte\u00a0brought together\u00a0young people from\u00a0his\u00a0surroundings\u00a0and generation to forge the Dominican nation.\u00a0<\/span><\/p>\nTrinitarians\u00a0served as\u00a0actors, directors and\u00a0propagandists. With\u00a0very scarce\u00a0resources,\u00a0they\u00a0staged foreign\u00a0pieces\u00a0such as\u00a0Bruto\u00a0o Roma Libre<\/i>,\u00a0La\u00a0viuda\u00a0de Padilla<\/i>\u00a0and\u00a0Un\u00a0d\u00eda\u00a0del\u00a0a\u00f1o\u00a023\u00a0en\u00a0C\u00e1diz<\/i>.\u00a0They promoted their\u00a0performances\u00a0through\u00a0leaflets that\u00a0they\u00a0distributed among their\u00a0neighbors. Juan Pablo Duarte was\u00a0a\u00a0prompter\u00a0who read,\u00a0in a low voice\u00a0and from\u00a0behind the curtain,\u00a0lines that the actors forgot.\u00a0The following Trinitarians stood out as actors:\u00a0F\u00e9lix Mar\u00eda del Monte, Pedro Pina, Juan Isidro P\u00e9rez, Jacinto de la Concha, Jos\u00e9 Mar\u00eda Serra\u00a0and\u00a0Pedro Pina.\u00a0The\u00a0young revolutionaries\u2019\u00a0girlfriends, friends and sisters\u00a0played\u00a0the feminine roles.\u00a0<\/span><\/p>\nStealthily, the\u00a0\u201cboys’ revolution,\u201d\u00a0as\u00a0it was called, stoked Dominicans\u2019 nationalistic sentiment. Regardless, the Haitian Governor looked at the\u00a0theatrical performances\u00a0from a distance\u00a0and considered them to be\u00a0harmless entertainment.\u00a0<\/span><\/p>\nThe\u00a0energy\u00a0used\u00a0in this effort would\u00a0influence\u00a0local\u00a0playwrights whose future works continued to have socio-political\u00a0undertones\u00a0that\u00a0reflected\u00a0the\u00a0turmoil of the times.\u00a0<\/span><\/p>\nAccording to\u00a0Mariano\u00a0Lebr\u00f3n\u00a0Savi\u00f1\u00f3n,\u00a0the\u00a0Trinitarian F\u00e9lix Mar\u00eda del Monte was the first Dominican to embark on\u00a0an independent\u00a0theatrical production, as he points out in his book\u00a0Histor<\/i>y of the Dominican<\/i>\u00a0Cultur<\/i>e<\/i>,\u00a0V<\/i>olume II<\/i>.\u00a0Lebr\u00f3n\u00a0Savi\u00f1\u00f3n\u00a0considers him\u00a0to be\u00a0the father of Dominican theater.\u00a0<\/span><\/p>\nIn turn, Joaqu\u00edn Balaguer considers him the first literary figure of the generation of independence (History of Dominican Literature<\/i>, 1956).\u00a0<\/span><\/p>\nTwelve years after the Republic\u00a0was established, Del Monte wrote the historical drama\u00a0Antonio\u00a0Duverg\u00e9\u00a0o<\/i>\u00a0Las\u00a0V\u00edctimas\u00a0de Abril<\/i>\u00a0(1856),\u00a0based\u00a0on\u00a0Duverg\u00e9\u2019s\u00a0execution\u00a0by order of General Pedro Santana.\u00a0He is also the author of\u00a0the dramatic legend\u00a0El<\/i>\u00a0Artist<\/i>a<\/i>\u00a0Antonio Brito<\/i>,\u00a0as well as\u00a0El Ultimo\u00a0Abencerraje<\/i>,\u00a0El\u00a0Mendigo\u00a0de la Catedral de Le\u00f3n<\/i>,\u00a0El\u00a0vals\u00a0de Strauss<\/i>,\u00a0and the\u00a0operetta\u00a0Ozema\u00a0o la Virgen Indiana<\/i>.\u00a0<\/span><\/p>\nAnother\u00a0advocate\u00a0of historical theatrical drama\u00a0during\u00a0the Restoration\u00a0period\u00a0(1865)\u00a0was Javier Angulo Guridi. Inspired by his experiences\u00a0during\u00a0the\u00a0Dominican Restoration War,\u00a0in 1867\u00a0he wrote\u00a0Cachorros\u00a0y\u00a0Manig\u00fceros<\/i>,\u00a0a short comedy.\u00a0Master\u00a0of the\u00a0Romantic Movement, his famous tragedy\u00a0Iguaniona<\/i>\u00a0has been described as his best work,\u00a0and it is\u00a0one of the first\u00a0to\u00a0address the\u00a0issues\u00a0of\u00a0indigenous\u00a0peoples.\u00a0<\/span><\/p>\nThe rise of nationalism,\u00a0with its contempt for\u00a0anything\u00a0colonial,\u00a0helped\u00a0popularize\u00a0the\u00a0indigenous and\u00a0folk\u00a0themes in Dominican theater, particularly\u00a0during\u00a0two historical\u00a0periods:\u00a0The Restoration or Second Republic, and the\u00a0United States\u00a0military intervention of 1916.\u00a0<\/span><\/p>\nAccording to\u00a0the vision of theater anthologist Jos\u00e9\u00a0Molinaza:\u00a0\u201cDominican theater evolves from\u00a0indigenous\u00a0to\u00a0folk or\u00a0Creole\u00a0themes,\u00a0as a product of romantic variables that in some cases\u00a0come close… to the search of a theater\u00a0that represents what is\u00a0to be\u00a0Dominican.\u201d\u00a0In other instances, he adds,\u00a0it is used\u00a0\u201cto hide the presence of\u00a0the descendants of former slaves.\u201d<\/p>\n
<\/p>\n
Famous playwrights of the 19th century<\/b><\/h2>\n
In addition to Del Monte and Angulo Guridi,\u00a0more than a dozen Dominican intellectuals contributed\u00a0to\u00a0theatrical\u00a0productions\u00a0in\u00a0the 19th\u00a0century.\u00a0Two\u00a0prolific\u00a0playwrights\u00a0were\u00a0Manuel de Jes\u00fas Rodr\u00edguez and Jos\u00e9 Francisco\u00a0Pellerano.\u00a0<\/span><\/p>\nRodr\u00edguez\u00a0was\u00a0the\u00a0author\u00a0of\u00a0Tilema<\/i>,\u00a0La Promesa Cumplida<\/i>,\u00a0Los c\u00e1lculos de un Tutor<\/i>,\u00a0and\u00a0La Hija del Hebreo<\/i>,\u00a0a\u00a0verse drama.\u00a0Francisco\u00a0Pellerano\u00a0was the author of the hit comedy\u00a0El que\u00a0menos\u00a0corre\u00a0vuela<\/i>,\u00a0released in 1811.\u00a0<\/span><\/p>\nArturo\u00a0Pellerano\u00a0Castro\u00a0was the author of\u00a0the\u00a0box office successes\u00a0Fuerzas\u00a0Contrarias\u00a0<\/i>(1892),\u00a0Antonia<\/i>\u00a0(1895),\u00a0and\u00a0De Mala\u00a0Entra\u00f1a<\/i>\u00a0(1902).\u00a0<\/span><\/p>\nOther intellectuals who ventured into theater were Francisco Gregorio\u00a0Billini, C\u00e9sar Nicol\u00e1s Penson, Am\u00e9rico Lugo, Jos\u00e9\u00a0Audilio\u00a0Santana, Federico Henr\u00edquez\u00a0y\u00a0Carvajal,\u00a0and Crist\u00f3bal D\u00edaz.\u00a0<\/span><\/p>\nAmong the\u00a0countless\u00a0playwrights of the early\u00a020th<\/span>\u00a0century,\u00a0one of the most recognized for\u00a0his\u00a0skills\u00a0was Ulises\u00a0Heureaux\u00a0Jr. In 1909 he\u00a0opened\u00a0to\u00a0great success the drama\u00a0Consuelo<\/i>\u00a0at\u00a0the\u00a0La\u00a0Republicana\u00a0Theater.\u00a0About the\u00a0son of\u00a0Dictator\u00a0Ulises\u00a0Heureaux,\u00a0Lebr\u00f3n\u00a0Savi\u00f1\u00f3n\u00a0wrote:\u00a0<\/span><\/p>\n\u201cThe whole point of the theater of ideas, from Ibsen to the contemporary\u00a0French\u00a0authors, was known to him, and\u00a0Heureaux\u00a0displayed\u00a0a special mastery\u00a0in\u00a0preparing\u00a0his\u00a0storylines\u00a0and finishing\u00a0them with\u00a0a\u00a0fitting\u00a0ending.\u201d\u00a0<\/span><\/p>\nSome of his greatest\u00a0successes were\u00a0Genoveva<\/i>,\u00a0Los\u00a0Inmutables<\/i>,\u00a0El\u00a0art\u00edculo\u00a0291<\/i>,\u00a0and\u00a0Alfonso XII<\/i>.\u00a0<\/span><\/p>\nOthers who contributed to the\u00a0dramatic form\u00a0in\u00a0the early\u00a020th<\/span>\u00a0century are Pedro Henr\u00edquez\u00a0Ure\u00f1a\u00a0with\u00a0El\u00a0nacimiento\u00a0de\u00a0Di<\/i>onysos<\/i>\u00a0in 1906, the only drama\u00a0that\u00a0he wrote; Am\u00e9rico Lugo with\u00a0his\u00a0Dramatic Essays<\/i>\u00a0of 1906,\u00a0which\u00a0include\u00a0Los<\/i>\u00a0Avaros<\/i>,\u00a0and\u00a0the\u00a0monologues\u00a0V\u00edspera\u00a0de Bodas<\/i>\u00a0and\u00a0En la\u00a0pe\u00f1a\u00a0pobre<\/i>.\u00a0<\/span><\/p>\nThe\u00a0Jos\u00e9\u00a0Narcizo\u00a0Sol\u00e1\u00a0Theater\u00a0Group, which staged its own works,\u00a0was created\u00a0in 1915.\u00a0That\u00a0same\u00a0year,\u00a0M\u00e9lida\u00a0Delgado Pantale\u00f3n wrote the first part\u00a0of\u00a0La Criolla<\/i>,\u00a0a folk\u00a0comedy in five acts.\u00a0She completed the fifth act\u00a0some\u00a0years later. The first four acts were published in 1930 in Rafael Brito\u2019s\u00a0Diccionario\u00a0de\u00a0Criollismos<\/i>, and in\u00a0C\u00edtara\u00a0<\/i>Cibae\u00f1a<\/i>,\u00a0edited by\u00a0Monsignor Hugo Polanco Brito\u00a0in 1989. This\u00a0timeless\u00a0comedy was\u00a0staged\u00a0in 2006 at the Columbus Theater\u00a0in\u00a0Providence, Rhode Island.\u00a0<\/span><\/p>\nAnother classic of\u00a0the\u00a0folk genre was\u00a0the operetta\u00a0Alma Criolla<\/i>,\u00a0by\u00a0Rafael\u00a0Damir\u00f3n,\u00a0which\u00a0was released\u00a0for the\u00a0first\u00a0time\u00a0in 1916. The following year,\u00a0Damir\u00f3n\u00a0staged\u00a0La\u00a0trova\u00a0del\u00a0recuerdo<\/i>\u00a0and\u00a0Mientras\u00a0otros\u00a0r\u00eden<\/i>.\u00a0<\/span><\/p>\nWith\u00a0U.S.\u00a0Marines\u00a0on Dominican\u00a0soil,\u00a0Damir\u00f3n\u00a0produced\u00a0Los\u00a0Yanquis\u00a0en\u00a0Santo Domingo<\/i>,\u00a0which\u00a0expressed\u00a0anti-American\u00a0sentiment, as did the\u00a0play\u00a0Independencia o\u00a0Muerte<\/i>,\u00a0by Ana J. Jim\u00e9nez\u00a0Y\u00e9pez.\u00a0<\/span><\/p>\nWhile Dominican artists\u00a0voiced\u00a0their criticism of the intervention\u00a0through\u00a0theater, the military government welcomed European theater companies that had lost their\u00a0theater houses\u00a0during World War I.\u00a0<\/span><\/p>\nIn the post-intervention period, according to data collected by author\u00a0Molinaza,\u00a0creole dramatic production reached\u00a040\u00a0plays, but only seven\u00a0were published.\u00a0The following date back to this period:\u00a0Los<\/i>\u00a0Quisqueyanos<\/i>,<\/i>\u00a0<\/i>by\u00a0Julio\u00a0Arzeno;\u00a0La\u00a0Cita<\/i>,\u00a0by Fabio Fiallo (1924),\u00a0and\u00a0Un<\/i>\u00a0Proceso\u00a0C\u00e9lebre<\/i>,\u00a0by\u00a0M\u00e9lida\u00a0Delgado and Juan Garc\u00eda, which addressed\u00a0injustices against women.\u00a0<\/span><\/p>\nDuring\u00a0the controversial government of Horacio V\u00e1squez, which\u00a0gave way to\u00a0the\u00a0Trujillo\u00a0dictatorship, the political comedy\u00a0El\u00a0Consejo\u00a0de\u00a0Gobierno<\/i>,\u00a0a satire\u00a0of\u00a0the\u00a0V\u00e1squez\u00a0administration,\u00a0was\u00a0brought to the stage.\u00a0<\/span><\/p>\nAlso,\u00a0Urania\u00a0Mont\u00e1s\u00a0Coh\u00e9n\u00a0created\u00a0the theater group of the Salom\u00e9\u00a0Ure\u00f1a\u00a0Institute for Young Ladies.\u00a0And poet Delia Weber,\u00a0who had\u00a0metaphysical\u00a0training, wrote the dramas\u00a0Salvador\u00a0<\/i>y<\/i>\u00a0Altamira<\/i>\u00a0and\u00a0Lo<\/i>\u00a0Etern<\/i>o<\/i>,\u00a0as well as the dramatic poem\u00a0Los\u00a0<\/i>Viajeros<\/i>.\u00a0\u00a0<\/span><\/p>\n <\/p>\n
Theater during the Trujillo era<\/b><\/h2>\n
Although\u00a0during\u00a0the first decade of\u00a0the\u00a0Rafael Trujillo\u00a0dictatorship\u00a0theater-related\u00a0activities\u00a0appear\u00a0to have been restricted,\u00a0performing\u00a0arts-centered education\u00a0began to be\u00a0formally\u00a0promoted like never before with the arrival\u00a0in\u00a0the country of Spanish\u00a0theater\u00a0director, writer and draftsman\u00a0Emilio Aparicio Mart\u00ednez\u00a0in 1940. Aparicio Mart\u00ednez\u00a0had been\u00a0exiled\u00a0during\u00a0the Spanish Civil War.\u00a0<\/span><\/p>\nAparicio began\u00a0creating\u00a0plays\u00a0for radio and\u00a0the stage.\u00a0He\u00a0brought these\u00a0to the\u00a0stage and directed them\u00a0at\u00a0the\u00a0Olimpia\u00a0Theater and rehearsed in\u00a0a\u00a0private\u00a0house,\u00a0located\u00a0on\u00a0calle\u00a0Hostos,\u00a0in\u00a0Santo Domingo\u2019s\u00a0Zona Colonial. He introduced\u00a0radio\u00a0transmitted\u00a0novels\u00a0at\u00a0La Voz del\u00a0Yuna\u00a0radio station, in Bonao, which later became the official La Voz\u00a0Dominicana\u00a0radio station.\u00a0<\/span><\/p>\nAfter\u00a0he\u00a0had\u00a0been living\u00a0six years in the country, the government asked him to\u00a0create\u00a0a\u00a0school of\u00a0theater.<\/p>\n
<\/p>\n
Theater School of National Art<\/b><\/h2>\n
Emilio Aparicio\u00a0created\u00a0the school of\u00a0performing\u00a0arts\u00a0in 1946, and began\u00a0specialized artistic training of actors, playwrights and set designers. The man who fled the Francisco Franco regime did not find\u00a0other\u00a0means to ensure\u00a0his family\u2019s livelihood, and had to work\u00a0with\u00a0the\u00a0limitations\u00a0inherent\u00a0to another dictatorship.\u00a0<\/span><\/p>\nRestrictions on creative freedom, however,\u00a0did not prevent the\u00a0education\u00a0of a generation of high caliber Dominican actors and playwrights.\u00a0<\/span><\/p>\nAmong\u00a0his\u00a0students\u00a0were\u00a0Rafael Gil, Jes\u00fas\u00a0Liz\u00e1n, Franklin Dom\u00ednguez Freddy Nanita, Marino\u00a0Hoepelman, Ana G\u00f3mez, Mary S\u00e1nchez, Luc\u00eda Castillo, Monina Sol\u00e1, Juan\u00a0Llibre, Oscar Iglesias, Zulema\u00a0Atala, Francisco Grull\u00f3n Cordero,\u00a0Liliano\u00a0Angulo,\u00a0Julio C\u00e9sar F\u00e9lix, Thelma\u00a0Nury,\u00a0Ferm\u00e1s\u00a0Ariza, Rosa de la Rosa and Antonia Blanco Montes;\u00a0his\u00a0wife.\u00a0<\/span><\/p>\nAparicio\u00a0introduced\u00a0quality standards for his performances.\u00a0He\u00a0brought to the\u00a0stage\u00a0some of\u00a0the works\u00a0by\u00a0Arthur Miller, Jean Paul Sartre, Albert Camus, Jos\u00e9 Calvo Sotelo, Miguel Miura, Jacinto Benavente and\u00a0Miguel\u00a0de\u00a0Cervantes, among others.\u00a0<\/span><\/p>\nSome\u00a0of\u00a0the\u00a0works\u00a0for\u00a0which\u00a0he\u00a0is\u00a0remembered\u00a0are:\u00a0Prohibido Suicidarse en Primavera<\/i>,\u00a0El hombre que yo Mat\u00e9<\/i>,\u00a0Dr\u00e1cula, el Vampiro<\/i>,\u00a0Pap\u00e1 Guti\u00e9rrez<\/i>,\u00a0La Muerte Env\u00eda su Tarjeta<\/i>,\u00a0Amores Famosos<\/i>, and\u00a0Por la Buena o por la Mala<\/i>.\u00a0<\/span><\/p>\nAparicio’s\u00a0era\u00a0was short, but intense: he died\u00a0from\u00a0cancer at\u00a0the\u00a0age\u00a0of\u00a041.\u00a0The school had other directors\u00a0who lasted longer,\u00a0including\u00a0Luis Gonz\u00e1lez Chamorro.\u00a0<\/span><\/p>\nOne of\u00a0Aparicio\u2019s\u00a0best\u00a0pupils, Rafael Gonz\u00e1lez Tirado, wrote\u00a0at\u00a0his death in 1949:\u00a0\u201cMaster!\u00a0Through\u00a0your\u00a0phenomenal\u00a0intelligence you\u00a0made\u00a0us understand art and moved our hearts with the\u00a0magnificence\u00a0of yours\u201d\u00a0(Angela Pe\u00f1a,\u00a0in her article\u00a0dated\u00a0August 12, 2007, Hoy\u00a0Newspaper).\u00a0<\/span><\/p>\nOther\u00a0notable\u00a0graduates\u00a0in\u00a0subsequent\u00a0years\u00a0were\u00a0Salvador P\u00e9rez Mart\u00ednez, Rafael V\u00e1squez, Mario Heredia, Miguel\u00a0Alfonseca, Santiago Lamela\u00a0Geler,\u00a0 Iv\u00e1n Garc\u00eda, Nin\u00ed Germ\u00e1n, Rub\u00e9n Echavarr\u00eda, Servio Uribe, Danilo Taveras, Esperanza de \u00c1lvarez, Flor de\u00a0Bethania\u00a0Abreu, Aurea\u00a0Juliao, Josefina Gallart, Camilo Carrau, Pepito Guerra, V\u00edctor Vidal, and Margarita Baquero.\u00a0<\/span><\/p>\nSome\u00a0outstanding\u00a0playwrights\u00a0are\u00a0M\u00e1ximo Avil\u00e9s Blonda, Manuel Rueda, Franklin Dom\u00ednguez, Bienvenido\u00a0Gimbernard, Mario Morel, Carmen Natalia,\u00a0Franlin\u00a0Mieses Burgos, Mario Lebr\u00f3n\u00a0Savi\u00f1on, Manuel Marino\u00a0Mini\u00f1o, Delia Marrero, Pedro Ren\u00e9\u00a0Cont\u00edn\u00a0Aybar, and H\u00e9ctor\u00a0Inch\u00e1ustegui.\u00a0<\/span><\/p>\nFour classic plays of the Dominican theater of the\u00a01950’s are:\u00a0La\u00a0Trinitaria\u00a0Blanca<\/i>,\u00a0by\u00a0Manuel Rueda;\u00a0Espigas\u00a0Maduras<\/i>,\u00a0by\u00a0Franklin Dom\u00ednguez;\u00a0Las Manos\u00a0Vac\u00edas<\/i>, by\u00a0M\u00e1ximo\u00a0Avil\u00e9s\u00a0Blonda,\u00a0and the trilogy\u00a0Prometeo<\/i>,<\/i>\u00a0Filoctetes\u00a0and Hip\u00f3lito<\/i>, by H\u00e9ctor\u00a0Inch\u00e1ustegui.\u00a0<\/span><\/p>\nAs\u00a0it\u00a0happened\u00a0worldwide, radio\u00a0transmitted\u00a0theater\u00a0plays\u00a0based on dialogue, music and sound effects became a popular entertainment\u00a0phenomenon\u00a0in\u00a0the Dominican Republic.\u00a0Actress Divina G\u00f3mez,\u00a0a pioneering\u00a0Mocana, directed\u00a0comedies\u00a0that were\u00a0transmitted\u00a0through\u00a0La Voz del\u00a0Yuna, in Bonao,\u00a0until 1944.\u00a0<\/span><\/p>\nThe young\u00a0School of Art\u00a0students\u00a0came up with\u00a0the\u00a0Mar\u00eda Mart\u00ednez\u00a0Experimental\u00a0Roster\u00a0of Comedies, with the idea of \u200b\u200bcreating a\u00a0homegrown\u00a0theater. The group was\u00a0led\u00a0by Rafael\u00a0Mont\u00e1s, and\u00a0it gave rise to\u00a0the Actors\u00a0Guild, under the\u00a0direction\u00a0of Santiago Lamela\u00a0Geler.\u00a0<\/span><\/p>\nActress\u00a0To\u00f1a\u00a0Col\u00f3n was the director of the Romance Campesino program that\u00a0has\u00a0captivated the national audience since it began airing\u00a0in 1952\u00a0on\u00a0La Voz\u00a0Dominicana.\u00a0To\u00f1a\u00a0Col\u00f3n\u00a0played\u00a0Felipa, Macario\u2019s\u00a0wife,\u00a0who was played by\u00a0actor Luis Mercedes\u00a0Miches. Actresses\u00a0Nubia Ulloa, Thelma Nurys Espinosa, Teresita Basilis, Mar\u00eda Fabi\u00e1n,\u00a0Fl\u00e9rida\u00a0Espinal, Rosita\u00a0Salad\u00edn, Mar\u00eda Rosa\u00a0Alm\u00e1nzar, Mary S\u00e1nchez,\u00a0and\u00a0Ernedina\u00a0Cruz, among many others, were also\u00a0from\u00a0that period.<\/p>\n
<\/p>\n
Contemporary\u00a0<\/b>T<\/b>h<\/b>eat<\/b>e<\/b>r<\/b><\/h2>\n
After the dictatorship,\u00a0Dominican theater\u00a0entered\u00a0a new\u00a0period\u00a0of\u00a0unparalleled\u00a0growth, encouraged by\u00a0freedom-related\u00a0activities\u00a0and the winds of change that\u00a0subsequent\u00a0decades\u00a0brought. The world\u00a0broadened\u00a0for\u00a0Dominicans. Perhaps like\u00a0no other time, actors began to offer the gifts\u00a0of their talents\u00a0to\u00a0a variety\u00a0of\u00a0audiences, and theater,\u00a0as a communal event,\u00a0began to be a mirror\u00a0through\u00a0which the nation discovered\u00a0itself.\u00a0<\/span><\/p>\nPlays\u00a0that portrayed social\u00a0issues, such as\u00a0Se\u00a0Busca\u00a0un Hombre\u00a0Honesto<\/i>\u00a0and\u00a0Tribunal de\u00a0Confiscaciones<\/i>,\u00a0brought to the stage\u00a0in 1964 by actor and playwright Franklin Dom\u00ednguez, filled the country’s theaters.\u00a0<\/span><\/p>\nIv\u00e1n Garc\u00eda,\u00a0M\u00e1ximo\u00a0Avil\u00e9s\u00a0Blonda\u00a0and\u00a0Rafael Gil Castro\u00a0contributed other\u00a0quality\u00a0works\u00a0which\u00a0embodied\u00a0the reality of\u00a0the\u00a0times.\u00a0<\/span><\/p>\nDuring the civil uprising\u00a0in\u00a0April 1965, which led to the\u00a0United States\u2019\u00a0second military intervention, a group of\u00a0artists\u00a0began to\u00a0create\u00a0theatrical\u00a0productions\u00a0for revolutionary commandos\u00a0fighting\u00a0for the return of the constitutional government of Juan Bosch,\u00a0who had been\u00a0overthrown by a military coup in 1963. Among them were\u00a0well-known\u00a0playwrights and actors\u00a0Delta Soto, Iv\u00e1n Garc\u00eda, Franklin Dom\u00ednguez and Miguel\u00a0Alfonseca.\u00a0<\/span><\/p>\nIn 1966,\u00a0under the\u00a0leadership\u00a0of\u00a0M\u00e1ximo\u00a0Avil\u00e9s\u00a0Blonda,\u00a0followed by\u00a0Rafael Villalona,\u00a0the\u00a0Theater of the Autonomous University of Santo Domingo\u00a0(UASD)\u00a0was created.\u00a0<\/span><\/p>\nWith Villalona\u2019s return\u00a0from the former Soviet Union (USSR), where he studied, contemporary Dominican theater\u00a0underwent\u00a0another\u00a0period\u00a0of\u00a0important\u00a0changes\u00a0to\u00a0its\u00a0content, structure and methodology.\u00a0<\/span><\/p>\nIn 1969 Villalona and his wife, Delta Soto, created the\u00a0New Theater\u00a0Group,\u00a0the\u00a0first to formally\u00a0establish\u00a0itself as\u00a0an independent organization. It\u00a0followed\u00a0Konstantin Stanislavsky’s\u00a0acting\u00a0system\u00a0with a manifesto of\u00a0performing\u00a0arts\u00a0that\u00a0was\u00a0read\u00a0at\u00a0La Atarazana square.\u00a0Among its\u00a0members\u00a0were\u00a0\u00c1ngel\u00a0Hach\u00e9, V\u00edctor Checo, Miguel\u00a0\u00c1ngel\u00a0Bucarelli, Augusto Feria and F\u00e9lix Germ\u00e1n.\u00a0<\/span><\/p>\nStreet theater, musical theater and folk\u00a0theater\u00a0began their rise in the mid-1970s with the group\u00a0\u201cProyecciones,\u201d\u00a0under the leadership of\u00a0playwright\u00a0Jimmy Sierra.\u00a0He\u00a0produced\u00a0theatrical performances\u00a0in the streets, while Jaime Lucero entered the scene with his Popular\u00a0Dominican\u00a0Folkloric Theater.\u00a0<\/span><\/p>\nThe\u00a01980s\u00a0marked the beginning of the institutionalization of theater-related\u00a0activities,\u00a0such as\u00a0festivals,\u00a0and theater and drama competitions.\u00a0Officially, March 27 was declared\u00a0the\u00a0National Day\u00a0of Theater. Since then,\u00a0with the celebration of\u00a0March\u00a0as\u00a0the Month of\u00a0Theater, the Emilio Aparicio\u00a0awards\u00a0began to be\u00a0presented\u00a0to\u00a0leading\u00a0theater\u00a0groups.\u00a0In 1977,\u00a0Iv\u00e1n Garc\u00eda had\u00a0already\u00a0created the\u00a0Emilio Aparicio\u00a0National\u00a0Theater Festival\u00a0in memory of the\u00a0maestro.\u00a0<\/span><\/p>\nIn the mid-1970s,\u00a0the First Theater Congress was celebrated, and the first Association of Independent Theater Groups (AGRUTESA) emerged from these efforts.\u00a0<\/span><\/p>\nNew\u00a0organizations\u00a0were created to promote the performing arts, and\u00a0to attract\u00a0the cooperation of foreigners, such as Spanish director Ram\u00f3n Pareja, Uruguayan pantomime performer\u00a0Alberto\u00a0Rowinski, and Eduardo Di Mauro, Argentinean puppeteer,\u00a0who\u00a0broadened\u00a0the vision and enriched\u00a0the works\u00a0of Dominicans in those fields,\u00a0as\u00a0actor Robinson Aybar\u00a0points out\u00a0in an essay for the Latin American Theater Review.\u00a0<\/span><\/p>\nSince then,\u00a0independent theater groups,\u00a0as well as\u00a0those\u00a0of\u00a0official,\u00a0private,\u00a0and educational\u00a0institutions,\u00a0have\u00a0flourished. Today, there is theater for all ages and\u00a0audiences. A\u00a0significant\u00a0fact is that\u00a0even\u00a0some\u00a0hotels and clubs\u00a0have\u00a0their own theater groups.\u00a0<\/span><\/p>\nWith the\u00a0arrival\u00a0of the\u00a0new\u00a0millennium, theater activities\u00a0continued to grow\u00a0in a\u00a0steady\u00a0manner.\u00a0There are some\u00a0thirty theater\u00a0companies that operate\u00a0throughout the\u00a0Dominican Republic,\u00a0staging\u00a0hundreds of\u00a0plays\u00a0a year\u00a0as well as\u00a0organized festivals and theater\u00a0seasons. At the official level, there is a\u00a0Directorate\u00a0of\u00a0Theater Festivals,\u00a0which\u00a0organizes national and international events.\u00a0<\/span><\/p>\nOnce a year,\u00a0Dominican and foreign theater\u00a0companies\u00a0organize\u00a0performances\u00a0in\u00a0the National Theater,\u00a0the Palace of\u00a0Fine Arts,\u00a0the\u00a0Casa de Teatro,\u00a0Santiago\u2019s\u00a0Cultural Center,\u00a0and\u00a0several\u00a0other\u00a0venues\u00a0in\u00a0Santo Domingo\u2019s\u00a0most humble neighborhoods.\u00a0<\/span><\/p>\nThe most recent national festival organized by the Ministry of Culture brought together 24 theater\u00a0groups, 14 directors,\u00a0and\u00a0staged\u00a0a total of 23\u00a0plays.\u00a0<\/span><\/p>\nIncentives to\u00a0the performing\u00a0arts\u00a0have been\u00a0established, such as the National Theater Award,\u00a0which is\u00a0considered the most important of\u00a0them\u00a0all. During March,\u00a0Month of\u00a0Theater,\u00a0many theater activities are held, such\u00a0as the Emilio Aparicio International Amateur Festival, which\u00a0celebrated\u00a0its\u00a016t<\/span>h<\/span>\u00a0edition\u00a0on March 22, 2016, under the\u00a0sponsorship\u00a0of the Ministry of Culture.\u00a0<\/span><\/p>\nLikewise,\u00a0during\u00a0the last nine years, the\u00a0Santo Domingo\u00a0International\u00a0Theater\u00a0Festival\u00a0(FITE) has been organized by the Ministry of Culture and the\u00a0Directorate\u00a0of Fine Arts Theater Festivals. Latin American, North American and European companies participate in this event.\u00a0<\/span><\/p>\nThe National Theater\u00a0has been\u00a0the main entertainment and theater\u00a0venue\u00a0in\u00a0Santo Domingo since 1973. It\u00a0accommodates\u00a01,800 people. Twenty-two years after its\u00a0creation,\u00a0its\u00a0facilities were\u00a0reproduced\u00a0in the city of Santiago\u00a0and\u00a0the new construction was\u00a0named\u00a0the\u00a0Gran Teatro del Cibao.\u00a0<\/span><\/p>\nOther official entities are:\u00a0The National\u00a0Theater\u00a0Company,\u00a0an extension of\u00a0the Directorate\u00a0of Fine Arts;\u00a0the\u00a0Manuel Rueda Hall;\u00a0the\u00a0Rodante\u00a0(Itinerant)\u00a0Theater;\u00a0the\u00a0Popular Theater of the Plaza de la\u00a0Cultura;\u00a0the\u00a0Theater Group of the School of Fine Arts of Santiago;\u00a0the\u00a0La Vega Theater,\u00a0and the Hall of\u00a0Plaza de la\u00a0Cultura\u00a0in Bonao.\u00a0<\/span><\/p>\nIn addition,\u00a0there are other\u00a0theaters,\u00a0such as the theater\u00a0at\u00a0the Autonomous University of Santo Domingo;\u00a0the theater\u00a0at\u00a0the\u00a0Pontificia\u00a0Universidad\u00a0Cat\u00f3lica\u00a0Madre y Maestra;\u00a0the\u00a0Proyecci\u00f3n\u00a0theater of the Santo Domingo\u00a0Technological Institute (INTEC);\u00a0the Dominican-American Cultural Center, and the\u00a0theater hall of the\u00a0Technological University of Santiago (UTESA).\u00a0<\/span><\/p>\nSome\u00a0renowned\u00a0independent entities are:<\/p>\n
\n- Casa de Teatro,\u00a0created\u00a0in 1974 by Dominican writer Freddy\u00a0Ginebra.<\/li>\n
- The Las Mascaras Theater, created in 1995 by actresses Germana Quintana and Lidia Ariza. Five years earlier they\u00a0had established the Pro- Dramatic\u00a0Art\u00a0Foundation. Its presence in the\u00a0Zona Colonial\u00a0has contributed to\u00a0the\u00a0expansion of\u00a0theatrical\u00a0productions\u00a0for a diverse range of audiences. One of its objectives is to\u00a0awaken\u00a0in\u00a0young people\u00a0a\u00a0passion for\u00a0theater.<\/li>\n
- Guloya\u00a0Theater,\u00a0created\u00a0in 1991 by\u00a0director and actor\u00a0Claudio Rivera\u00a0and\u00a0actress and producer\u00a0Vienna Gonz\u00e1lez,\u00a0who teaches and directs the theater group of the\u00a0Pontificia\u00a0Universidad\u00a0Cat\u00f3lica\u00a0Madre y Maestra.<\/li>\n
- C\u00facara-M\u00e1cara\u00a0Theater Foundation, established on March 21, 1981. Its\u00a0main\u00a0focus is on\u00a0providing opportunities for\u00a0children and young people\u00a0to\u00a0attend\u00a0theater and dance\u00a0courses and\u00a0workshops.<\/li>\n
- Gayumba\u00a0Theater,\u00a0under the leadership of\u00a0Manuel\u00a0Chapuseaux, was created in 1976 and has represented the country at international festivals. Its members,\u00a0having studied under\u00a0Venezuelan director and actor R\u00f3mulo Rivas, consolidated the street theater of the\u00a01970s\u00a0and\u00a01980s.<\/li>\n
- Teatro Popular of Santiago,\u00a0developed\u00a0from several workshops that\u00a0Rafael Villalona\u00a0offered\u00a0in the province of Santiago.<\/li>\n
- Luna Theater,\u00a0was\u00a0led\u00a0by Fausto\u00a0Grull\u00f3n,\u00a0who\u00a0also\u00a0graduated\u00a0in\u00a0the former Soviet Union. It\u00a0operates\u00a0in the\u00a0Mejoramiento\u00a0Social\u00a0neighborhood.<\/li>\n
- La\u00a0Cuarta, another theater\u00a0led\u00a0by another\u00a0graduate\u00a0from\u00a0the old USSR.<\/li>\n
- Escuela\u00a0Divergente\u00a0Theater combines elements of\u00a0popular and\u00a0clown\u00a0theater\u00a0for the purpose of entertaining people and\u00a0conveying\u00a0a message of divergent hope. It was\u00a0created\u00a0by actress and playwright Ingrid Luciano S\u00e1nchez\u00a0and by Tom\u00e1s Rubio, poet-clown who\u00a0taught\u00a0theater, creative writing and\u00a0storytelling.<\/li>\n
- Therapeutic Theater of the Comprehensive Care Center for the Disabled.<\/li>\n
- Lorena Oliva\u2019s\u00a0Alternative Theater.<\/li>\n
- Naboria\u00a0Theater,\u00a0created\u00a0by a group of actors\u00a0that seek\u00a0to offer\u00a0distinctive works\u00a0to\u00a0the\u00a0national\u00a0Dominican theater.<\/li>\n
- Huella Latina\u00a0Theater.<\/li>\n
- Alta Escena\u00a0Theater.<\/li>\n
- \u00cdcaro\u00a0Theater.<\/li>\n
- La Fiesta\u00a0Teatre, Hotel Jaragua.<\/li>\n
- Club\u00a0de\u00a0Arroyo Theater,\u00a0which\u00a0has operated for\u00a035 years.<\/li>\n
- Los\u00a0Prados\u00a0Theater\u00a0Group.<\/li>\n
- Los Leones Theater Group, from Hato Mayor.<\/li>\n
- Bethania Abreu Theater Company.<\/li>\n
- Amarilis\u00a0Rodr\u00edguez Theater Company.\u00a0\u00a0<\/span><\/li>\n<\/ul>\n
\u00a0<\/span><\/p>\nNew generation of playwrights and actors<\/b><\/h2>\n
The contemporary\u00a0period\u00a0of Dominican theater has produced a\u00a0group\u00a0of\u00a0talented\u00a0new playwrights, directors, actors,\u00a0and actresses. Among the most recognized are\u00a0Manuel\u00a0Chapuseaux,\u00a0Marcio Veloz Maggiolo, Carlos Esteban\u00a0Deive, Efra\u00edn Castillo,\u00a0Haffe\u00a0Serulle, Arturo Rodr\u00edguez Fern\u00e1ndez,\u00a0A\u00f1ez\u00a0Berg\u00e9s, Rafael Villalona, Giovanni Cruz,\u00a0and\u00a0Chiqui Vicioso.\u00a0<\/span><\/p>\nAmong\u00a0a\u00a0long\u00a0list\u00a0of\u00a0the\u00a0most\u00a0renowned\u00a0directors\u00a0and\u00a0actors\u00a0are:\u00a0Mar\u00eda Castillo, Bienvenido Miranda, \u00c1ngel Hach\u00e9, Germana Quintana, Karina Noble, Federico\u00a0Pellerano, Elvira Taveras, Amarilis Rodr\u00edguez, F\u00e9lix Germ\u00e1n, Carlos Espinal, Arturo L\u00f3pez, \u00c1ngela Herrera,\u00a0Lilyana\u00a0D\u00edaz, Carlota Carretero,\u00a0Nives\u00a0Santana, Niurka Mota, Lidia Ariza, C\u00e9sar Olmos, Enrique Chao, Basilio Nova, Juan Mar\u00eda Almonte, V\u00edctor Pinales, Osvaldo A\u00f1ez,\u00a0Yamil\u00e9\u00a0Scheker, Enrique Chao, Olga\u00a0Bucarelly, Aidita Selman, Leonardo\u00a0Grassals, Niurka Mota, Josu\u00e9 Guerrero,\u00a0and Mario Lebr\u00f3n.\u00a0<\/span><\/p>\nOther\u00a0young\u00a0talents\u00a0who\u00a0are\u00a0mentioned\u00a0in\u00a0cultural\u00a0chronicles\u00a0are:\u00a0Orestes Amador,\u00a0Waddys\u00a0J\u00e1quez, Karina Guerra, Laura Guzm\u00e1n,\u00a0Laurine\u00a0Ferrand, Henry Mercedes, Tom\u00e1s Rubio,\u00a0Ivanova\u00a0Veras, Ingrid Luciano S\u00e1nchez, Mar\u00eda Bosch, Frank Perozo, Jos\u00e9 Manuel Rodr\u00edguez,\u00a0and\u00a0Jhonnie\u00a0Mercedes.\u00a0Other\u00a0actors\u00a0recognized\u00a0for\u00a0their\u00a0work\u00a0are:\u00a0Estela Cuesta, C\u00e9sar Olmos, Augusto Feria, Lincoln L\u00f3pez, Bienvenido Miranda, Manuel L\u00f3pez, Mario Heredia,\u00a0and V\u00edctor Checo.\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n\u00a0<\/span><\/p>\n
![\"\"](\"http:\/\/www.dominicana-online.org\/wp-content\/uploads\/2007\/02\/teatro_peseta-rd.jpg\")
<\/a>From remote\u00a0locations, both cultures\u00a0exhibited\u00a0artistic expressions that have proven to be universal:\u00a0group\u00a0singing with music, poetry, pantomime and dance\u00a0performances. Both the\u00a0Ta\u00ednos\u00a0and the Greeks of the original\u00a0ancient\u00a0theater ended in states of motionless trances. Performances took place\u00a0in open circular spaces, which the Greeks\u00a0termed a\u00a0theatron<\/i>\u00a0and the\u00a0Ta\u00ednos\u00a0called\u00a0a\u00a0batey<\/i>, where the\u00a0public and actors\u00a0congregated.