Since Rodolfo Usigli’s El gesticulador (1938), the theaters of Mexico City and elsewhere have served as a staging ground for the re-thinking and re-presentation of past episodes of Mexican history. Over the years, I have developed a course titled “Contemporary Mexican Theatre: Staging the Past,” in which graduate students and advanced undergraduates read and discuss plays that revive certain historical entities and episodes as part of this creative re-opening and critical inquiry into the past. The objective of the class is threefold: to instill an appreciation for theatre as a means of revis(it)ing history; to convey the important role that history has played in the formation of contemporary Mexican consciousness; and to familiarize students with theoretical approaches that range from Hayden White’s concept of metahistory to Hans-Thies Lehmann’s “postdramatic” theatre. The overall objective of the class is to create an awareness of the complexity of Mexican history, of the power of the written word, and of the power of theatre in particular as a means of setting the story straight, giving voice to the vanquished as well as the vanished, demanding the truth and an end to impunity, and ultimately avoiding the repetition of past errors.

中文翻译：

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在教室及其他地方以及剧院的墨西哥“历史”

自罗道夫·乌西格里（Rodolfo Usigli）于1938年创作《 El gesticulador》以来，墨西哥城和其他地方的剧院就成为了重新思考和再现墨西哥历史上过去情节的舞台。多年来，我开发了一个名为“当代墨西哥剧院：演绎过去”的课程，在该课程中，研究生和高级本科生阅读和讨论使某些历史实体和情节复活的剧本，作为这种创造性的重新开放和批判性探究的一部分。过去。该课程的目标是三个方面：灌输对戏剧的欣赏，以作为修改历史的一种手段；传达历史在当代墨西哥意识形成中所发挥的重要作用；并使学生熟悉从海顿·怀特（Hayden White）的元历史概念到汉斯·提斯·莱曼（Hans-Thies Lehmann）的“后戏剧性”剧院的理论方法。该课程的总体目标是使人们了解墨西哥历史的复杂性，文字的力量和戏剧的力量，特别是作为使故事讲得直截了当的手段，同时也为被征服者提供声音消失，要求真理和制止有罪不罚现象，并最终避免重复过去的错误。