Theatre of Argentina

[1] The Teatro Colón is a national landmark for opera and classical performances; built at the end of the 19th century, its acoustics are considered the best in the world,[2] and has undergone a major refurbishment in order to preserve its outstanding sound characteristics, the French-romantic style, the Golden Room (a minor auditorium targeted to Chamber Music performances), and the museum at the entrance.

Griselda Gambaro, Copi, Roberto Cossa, Marco Denevi, Carlos Gorostiza, Alberto Vaccarezza and Mauricio Kartun are a few of the more prominent Argentine playwrights.

The history of Argentine theatre goes back to the sixteenth and seventeenth centuries, with public performances put on by Jesuits or missionaries in attempts to convert the local Indigenous population to Christianity.

Siripo is now a lost work (only the second act is conserved), and can be considered the first Argentine stage play, because it was written by Buenos Aires poet Manuel José de Lavardén, it was premiered in Buenos Aires, and its plot was inspired by an historical episode of the early colonization of the Río de la Plata Basin: the destruction of Sancti Spiritu colony by aboriginals in 1529.

The musical creator of the Argentine National Anthem, Blas Parera, earned fame as a theatre score writer during the early 19th century.

Making the Teatro Odeón a nerve centre for the medium, her evolved stagecraft led to the creation of the national stage, the Cervantes Theatre, in 1921.

[8] The wave of European Immigration in Argentina created a need for a cultural shift in theatre, partially tied to the growth of the middle class.

The Teatro Independiente movement created a counterweight to professional theatre by wanting to reintroduce grotesque subject matter back into plays.

Argentina's National Reorganization Process posed the greatest challenge to the development of local theatre since the Rosas era of the mid-19th century.