The national being in crisis: training in dramaturgy at the end of the 60s

Abstract

At the end of the 1960s, the perception of a crisis in the existence of the national author seems to have been a condition of possibility for the appearance of dramaturgy seminars and workshops, which would give initiation training to the central writers in later years. In this sense, it is convenient to analyze not only the paradox by which the controversy stimulated teaching, but also the most relevant artists that emerged then as referents of training in theater writing.