The other face of history and popular Puerto Rican theater: Lydia Milagros Gonzalez's Tajo del Alacran

In the late 60s and early 70s (1966-1971), Lydia Milagros Gonzalez's theater group, El Tajo del Alacran, proposed a new cutopic Puerto Rican society using characters that represented people who were excluded from the history of the nation. The discourse of educated elitists silenced, invisibilized, and overlooked these people based on social status, race, and sex. For this reason, in the following analysis of Puerto Rican theater, we will find similarities between the popular theater group El Tajo del Alacran and The New Latin American Theater proposed by Osvaldo Dragun, Augusto Boal, and Enrique Buenaventura, among others. This Cultural output served as the rehearsal for a decolonization revolution achieved through recruitment of the oppressed classes, or the people of the nation, and through the awareness aroused by Marxist socialism. Therefore, the purpose of this work is to expose and transgress the other side of the history of Puerto Rico using the Textos del Tajo del Alacran. To this end, Puerto Rican theater has been one of the greatest contributors to the cultural output of the nation.