The Puerto Rican national theater should find its primary roots in the historical past, in a culture marked by the Spanish influence, mainly in the 19th century. The foreign literary currents that entered the island were assimilated by writers of the time, who in using them, tried to express their native feelings, their love for their homeland, for freedom. As major figures in the heat of the above currents, arise Salvador Brau, Alejandro Tapia y Rivera, Ramón Méndez Quiñónez. Each one in his style, with his contributions to drama, paves the way for the Puerto Rican cultural theater. The works of Brau, Tapia and Méndez Quiñónez have remained for the posterity with their flaws and virtues, their approach to life at that time and their homeland, honor or love themes. The Spanish and European canons that serve as examples after the 1898 transfer, are gradually adapted to the needs and interests of writers who are trying to find a way for their own expression. Along with those above, it is necessary to mention two women: Carmen Hernández Araujo and María Benítez, even if they did reach in literature the prominence all three of them achieved. A study of Puerto Rican theater marks a repetition with variants of the 19th-century situation. In the production aspect, there are countless Spanish theater companies that have their market in Puerto Rico, next to the productions of native and foreign works represented by amateur actors, both in the capital and in the island’s most important cities. The list of writers that cultivate the theater is long; among them it is necessary to mention to José Pérez Losada, Rafael Martínez Alvarez, José E. Levis, Matías González, Juan B. Huyke, Antonio Coll, Luis Llorens, Nemesio R. Canals, Carlos N. Carrera and José Ramírez. A driving force in those decades was the Ateneo Puertorriqueño (Puerto Rican Athenaeum) with its theater contests. Works like Gritos de angustia and Por mi tierra y por mi dama, by Matías González, are products of that cultural effort. It is the Ateneo that helps to keep alive the theatrical movement on the island, both in its principles and in its thriving. We cannot speak of the development of the theater without mentioning it, through its contests, its courses, productions, it always was at the lead, developing and influencing a theatrical awareness and culture. The Athenaeum is joined by different group in search of more effectiveness. Thus, Francisco Arrivi, in an article on Old San Juan and the Tapia Theater refers to the fact that Don Gustavo Jiménez Sicardo merges Puerto Rico’s Club Dramático del Casino with the drama competitions Ateneo Puertorriqueño. The Casino de Puerto Rico would collaborate with the theatrical activities that, between 1931 and 1934, were carried out in the University of Puerto Rico by professors like Manolo García Díaz, Margot Arce, Rubén del Rosario. By the 30’s, the attitude toward the theater takes new turns. In terms of themes, there is a pursuit to deepen into the Puerto Rican man's problems; in terms of techniques, new assembly ideas and concepts are used that have been coming through the study of European and American productions. Areyto marks the beginning of a new theatrical activity and attitude. It extends up to 1941, although its influence will last through the years by means of the individual or collective work of those who carry out the primary undertaking. The foundation of the Teatro Universitario in 1941 for Leopoldo Santiago Lavandero constitutes one of the most important events in the development of Puerto Rican theater. Teatro Universitario will be the foundation on which future professionals will be forged. Its work is two-fold: it trains actors, technical designers and, at the same time, is the only fountain where theater-goers go to satiate their thirst for drama. It makes possible it to enhance the awareness of theatrical styles, by means of anthological productions, directed successively by Santiago Lavandero, Angel F. Rivera, Nilda González, Ludwuing Schajowicz, Carlos Marichal, etc. The work of Teatro Universitario, Teatro Rodante and Comedia Universitaria is well-known. It runs alongside of groupings that arise and work sporadically like the Sociedad General de Actores (1943), Tinglado Universitario (1945), Teatro Nuestro (1950), and Teatro Experimental del Ateneo (1951), among others. In 1956, the Puerto Rico Culture Institute is created. Through its first board, it prepares a cultural project whose main ideas are realized in 1958 with the First Festival of Puerto Rican Theater. It features works of Manuel Mendéz, Emilio S. Belaval, Francisco Arrivi and René Márquez, Nilda González, among others. These festivals extended to the whole island, especially Ponce and Mayagüez, which has been a decisive factor in the thriving of numerous theatrical companies which it subsidizes. From the first festival, numerous companies have arisen: Producciones Cisne, Alta escena, Comedia puertorriqueña, El Bohío, Yukayeke, Compañía Teatral Ponceña.Today, there is a cultural infrastructure that furthers the development of this art, influenced by the new currents and artistic styles of the new generations, besides inheriting the unfolding of the vanguards that preceded them and that established guidelines in the cultural activity of the island. Many and varied are the themes and privileged the works that have been selected to be produced. The theater has changed a lot in the last few years, but there is no question that its roots have influenced the new work, an attempt to achieve new, more innovative, expressions of Creole art.
