San Juan, Puerto Rico – This summer, the Theatre Communications Group (TCG) will hold its National Conference in San Juan , offering a unique opportunity for American theatremakers to engage with a vibrant, historically rich, and often overlooked theatrical landscape. To understand the nuances of Puerto Rican theatre, we spoke with Rosalina Perales, a retired professor in the Departamento de Drama at the University of Puerto Rico, Río Piedras, and a leading scholar in the field.
Perales stresses a fundamental point: Puerto Rico possesses a robust theatrical tradition dating back to the 19th century. “I want conference visitors to know that Puerto Rico has had theatre since the 19th century, and that we are well trained and knowledgeable in the field,” she explains. She notes a common misconception she frequently corrects – the assumption that Puerto Rico lacks significant theatrical works or performances comparable to those found elsewhere. “The truth is, we have both,” Perales asserts. “The problem is that people don’t know it, even in Puerto Rico.” She highlights the strength of the Drama Department at the University of Puerto Rico, alongside growing programs at private institutions, as key drivers of talent.
The development of Puerto Rican theatre, Perales explains, has been inextricably linked to the island’s colonial history and evolving identity. The national theatre truly solidified in the 1950s, with playwrights like René Marqués, Francisco Arriví, and Manuel Méndez Ballester establishing a foundational canon. The 1960s saw a modernization of theatrical techniques, while maintaining a strong national and cultural perspective, and subsequent generations continued to expand the range of expression.
A pivotal moment in the island’s theatrical history was the 1938 theatre contest sponsored by the Ateneo Puertorriqueño. The winning plays, Perales notes, established recurring themes: the defense of the land and cultural identity, the impact of rural-to-urban migration, and the experiences of Puerto Ricans migrating to the United States. These themes continued to resonate in the work of Marqués, Arriví, and Méndez Ballester, shaping a distinctly Puerto Rican dramatic voice.
The 1960s and 70s brought experimentation, and innovation. Myrna Casas introduced absurdist and Expressionist techniques, while Luis Rafael Sánchez challenged conventions with plays like Los ángeles se han fatigado and La farsa de amor compradito, often subtly critiquing colonialism and championing Puerto Rican identity. Simultaneously, the student group El Tajo del Alacrán emerged, embracing the principles of Bertolt Brecht and Augusto Boal to create popular, didactic theatre focused on social justice and affirming Puerto Rican identity. This period saw the rise of street theatre and collective creation, fueled by the political climate of the time.
The 1980s witnessed the “Nueva Dramaturgia Puertorriqueña” (New Puerto Rican Dramaturgy), a movement fostered by the University of Puerto Rico’s Drama Department. This initiative not only encouraged new playwriting but also prioritized the research and recovery of the island’s theatrical history, spearheaded by playwrights Roberto Ramos Perea and José Luis Ramos Escobar. Alongside traditional script-based theatre, Perales notes the emergence of transformative, corporal, and alternative theatre forms, increasingly influenced by technology.
Currently, Puerto Rican theatre faces a number of pressures. Perales identifies ideological divisions, a weakening education system, and limited resources as significant challenges. She notes a decline in audiences for artistic theatre and classics, which can impact the quality of productions. “The lack of education can lead audiences to think that farcical theatre, which creates laughter with low resources, is the only option,” she explains. However, despite these obstacles, Perales emphasizes the resilience and ingenuity of Puerto Rican artists.
“Even with minimal resources, Puerto Rican theatre continues to offer strong work in many forms,” Perales says, citing examples like new playwrights experimenting with structure and staging, dance-theatre, circus theatre, and alternative performances. She also acknowledges the growing popularity of musical theatre and commercial farce, while expressing concern for the continued support of dramatic theatre and classic textual dramaturgy.
Language plays a crucial role in Puerto Rican theatre. Perales notes that English-language theatre is rare on the island, and bilingual productions are virtually nonexistent. While Spanglish occasionally appears in comedic works, the core structure of the Spanish language remains dominant. However, she cautions that when Puerto Rican work is viewed through a U.S. Lens, its essential cultural identity can be lost.
For visiting theatre professionals and those seeking to support Puerto Rican theatre, Perales advocates for broad-based funding across all disciplines, with stipends commensurate with the work involved. She emphasizes the importance of commissions, partnerships, and direct funding for selected projects.
The TCG conference represents a valuable opportunity to foster understanding and collaboration. As Perales makes clear, Puerto Rican theatre is not simply a regional variation of a global art form; it is a deeply rooted cultural expression shaped by centuries of history, struggle, and artistic innovation. It’s a story that deserves to be known, appreciated, and supported.
Brigitte Viellieu-Davis is an educator, writer, and theatre artist based in San Juan, Puerto Rico. A co-ambassador for Puerto Rico with the Dramatists Guild of America, she works to build community and visibility for Puerto Rican theatre creators.
