According to campingship, Argentina is a country located in South America. The history of the Argentine theater is largely the history of the theater in Buenos Aires. It began relatively late, practically after the achievement of independence (previously there were only performances in universities or indigenous missions) with the foundation of the Sociedad del Buen Gusto del Teatro (1817) which presented European dramatic texts or imitations of them for a heterogeneous audience. indigenous authors. The itinerary was the same: neoclassical tragedies, then romantic dramas, then bourgeois comedies. Towards the end of the century with the influx of numerous immigrants from Europe, French, Italian and Spanish companies began to be invited, also and above all for their benefit, thus inaugurating a tradition that is still very much alive today. But in the meantime a more specifically Argentine dramaturgy had arisen: it came from Pampa and featured a hero of a new kind, the gaucho. The initiator was a former circus clown, José Juan Podestá, who in 1884 adapted for the scenes the novel by Eduardo Gutiérrez Juan Moreira, a drama full of blood and noise and the starting point of a new genre, whose Spanish models were the sainete and then the chico genre , destined to also influence the cultured theater. Alongside these sainetes gauchéscos two other genres developed, the urban sainete, which presented social conflicts within the major cities invaded by large numbers of European immigrants, and the sainete criollo, which showed in grotesque terms the types and characters of the colorful population of Buenos Aires and, in the alternative, of the other major centers. Together, these three theatrical forms dominated the Argentine scene throughout the first thirty years of the century. XX. From 1930 some independent groups arose – first among which the Teatro del Pueblo directed by Leónidas Barletta – animated by the dual intent of renewing the Argentine scene with the introduction of the director, the masterpieces of contemporary European theater and the most recent techniques of ‘staging, and at the same time to stimulate a new dramaturgy, experimental in the forms and politically committed in the contents (whose main representative was R. Arlt), which was aimed primarily at a popular audience. On this line we continued to work even after the Second World War, with a national repertoire attentive to current political and social issues, but carried out in theatrical languages that are not flatly realistic.
Comedies such as El puente (1949; Il ponte) by C. Goroztiza or Historias para ser Artprice.com (1957; Stories to tell) by O. Dragún imposed new authors and indicated new models. In their wake, still with the same intentions, the young playwrights who came to the fore in the 1960s (R. Cossa, R. Halac, R. Talesnik, G. Rozenmacher), forced to move in a context often made difficult by military dictatorships and by their ferocious censorship (dictatorships that had forced the emigration, especially in France, by talents such as V. García, J. Lavelli, J. Savary, A. Arias and Copi). In 1981, two years before the restoration of democracy, a Teatro Abierto was founded to react to the dramaturgical stagnation that occurred in the previous decade with the representation of novelties by unpublished authors (twenty one-act acts during the first season). The names mentioned so far belong mainly to the area of the experimental theater, the most interesting but certainly not the only one. In fact, a national theater (the Cervantes), a municipal theater (the San Martín) and various more or less commercial halls operate in Buenos Aires, where the repertoire, Argentine and foreign, is certainly less daring and the new authors acquire the right of citizenship only after having established elsewhere. However, it is in the capital that Argentine professional theater is concentrated: elsewhere there are almost exclusively amateur dramatics companies and experimental groups, some even of a certain importance. Relatively new names in Argentine dramaturgy are those of Ricardo Monti (Maratón), Jorge Goldenberg (Cartas a Moreno), Roberto Perinelli (Miembro del jurado, Desdichado deleite del fate), Daniel Veronese (La Noche devora a sus Hijos, 1999), also co-author of the screenplay of the film Cómo pasan las horas (2005). Among women, Alicia Muñoz, Patricia Zangaro (b.1958; A propósito de la duda, 2000; Las razones del bosque, 2002), Andrea Garrote (b.1972; La Modestia, 1999; La estupidez, 2003) stand out in particular., Mariana Trajtenberg (Mar de Margaritas, 2001).
