The Gauchesque Theater Between the Colony and the Emancipation: Traces of a Forgotten Continuity

Abstract

The literary criticism that has addressed gauchesque poetry has generally excluded the study of theatrical texts and, most importantly, it has left out the colonial production. The present work starts from the hypothesis that the joint analysis of the theatrical and the colonial in this literature allows to read continuities and differences for the period 1780-1826. Through this reading, the author attempts to offer a perspective, sustained in the permanence of the names of characters and in marriage as the central fact of the plots, to think of the colonial gauchesque as part of the totality of the genre, questioning the frames established by the literary criticism. Those texts, in textual marks and in a persistence that insists as a rewriting, allow this.