From Colonial to Post-Colonial times, African rituals and other magical-religious manifestation have become a constant aesthetic resource when it comes to representing Afro-Cubans in the theater. In this essay, I analyze black face theater or teatro bufo to trace pioneer theater plays that employed Afro-Cuban rituals to portray blackness during the 19th century. By examining several plays, especially Mefistofeles by Ignacio Sarachaga (1896), I will study how elements such as music, speech and the practice of the Afro-Cuban religion are portrayed not only as part of the racist mockery typical of this theatrical genre, but also as a mechanism with which to confront the Colonial Spanish regime as well as to propose a more dynamic and technically complex staging.

中文翻译：

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在Bufo剧院殖民时期的非裔古巴文化的仪式和魔术宗教代表

从殖民时代到后殖民时代，在剧院中代表非洲裔古巴人时，非洲的仪式和其他神奇的宗教表现形式已成为一种恒定的美学资源。在本文中，我分析了黑人面孔剧院或剧院剧院，以追溯先锋剧院的戏剧，这些戏剧采用19世纪非洲裔古巴人的仪式来描绘黑人。通过研究几部戏剧，尤其是伊格纳西奥·萨拉查加（Ignacio Sarachaga，1896）的《梅菲斯托费利斯》，我将研究如何将音乐，言语和非洲裔古巴宗教实践等元素刻画成不仅是该戏剧流派典型的种族主义嘲弄的一部分，而且还可以作为一种机制来对抗西班牙殖民地政权，并提出更具活力和技术上更复杂的舞台。