The critical approaches to Peruvian theater in the twentieth century have contributed to verify the procedure of scenic representation and the way of stylistic elaboration of the dramatic composition. This approach has propitiated a sequentiality of approaches to the theatrical process related to diverse tendencies or sensibilities established in several periods. Specifically, the balance of César Vallejo’s plays evidences the commitment and exhaustive search of the famous bard to elaborate an innovative artistic composition. In this sense, the present research aims to review the perspectives of literary criticism regarding the play Colacho hermanos (1934).

He studied the influence of modernism —which produced a reform in Spanish-American literature— in the Peruvian theatre with the drama Desolation (1917) by Enrique López Albújar, which manifests features of the nineteenth norms of the nineteenth century, but looks for new Parameters of representation, a new thematic content and an artistic quality in the language to determine the effect of modernism, under the Symbolist modality, in the Peruvian theatre. He examines this literary trend and analyses this theatrical piece from a semiotic and rhythmic view. The study contributes to the diverse researches on the modernism that allowed the artistic renewal in the poetry and the narrative and that on the theatrical creation were absent.

Studies about the poetry, tales and novels of César Vallejo evidence the poetic proceed and the exhaustive quest to elaborate an innovative artistic composition. That same literary encouragement is also perceived in the theatrical field, because the theoretical approaches and theatrical proposals show the interest in rethinking the dramaturgy of his time as he planted it in Colacho brothers (1934). This play, although the political, social and economic problem of peruvian society is highlighted, develop an incessant effort to achieve an theatrical discourse linked to its aesthetic inclination. Therefore, since a semiological and rhythmic perspective, this research focuses on verifying the composition of the dramatic dialogue in the play by the famous vate.

Determina las tendencias poéticas del modernismo en los textos teatrales de los escritores peruanos considerados modernistas, a saber: Leonidas Yerovi, José Santos Chocano, José Carlos Mariátegui, Enrique López Albújar, Abraham Valdelomar y Ventura García Calderón; precisar las categorías del estilo en el discurso teatral influenciado por el modernismo frente a la postura tradicional; esclarecer mediante un análisis rítmico del verso y la prosa la formalidad estructural y la laboriosidad estilística de las composiciones teatrales; y, por último, fijar el nivel valorativo del modernismo en la renovación dramática del Perú, lo cual permitió la apertura de nuevos rumbos teatrales. La presente tesis ambiciona con contribuir un aspecto literario inexplorado: evidenciar la presencia del modernismo en el teatro peruano a partir de textos dramáticos realizados por reconocidos e...

At the beginning of the 20th century, the literate sector and the popular crowd accepted the marvellous resonance of the descriptive and orchestral verses of José Santos Chocano y Gastañodi (1875-1934). As years passed, critics focused only on the superficiality and emphatic sonority of his compositions, leading to a massive lack of interest in the readers. It is not surprising, then, that his theatrical works have not been properly studied. In this sense, from an approach based on the manipulation of rhythm and theatrical semiology, we consider it important to review the play Los conquistadores (1906). The aim of this paper is to prove that Chocano does not improvise in the theatrical elaboration process of this historical drama, but rather he presents the romantic influences with a certain modernist attitude.