In his work, Carballido avoids violent conflict and seeks solution and hope

Challenging any attempt to be typecast as a customary, the creative legacy of Emilio Carballido travels freely through the various styles, which go from expressionism to magical realism. Through his works he built a deep portrait of Mexican society, with human, complex and constant transformation characters.

Luis Mario Moncada, playwright, critical and current National Theater Coordinator of the National Institute of Fine Arts and Literature (Inbal), compares to Carballid Family conflicts and psychological traumas.

But he warns that unlike Williams, the Mexican prints in his stories a positive turn. Amid moral prejudices and family conflicts, their characters find solution and hope.

An example is Rosalba and Los Llaveros (1950), family drama that follows Rosalba’s return to his home, in Otatitlán, Veracruz, after a while in Mexico City. In the work explores prejudices, attavisms, and the difficulty of reconciling individual identity with family ties.

In The dance that dreams the turtle (1975) addresses the story of two single sisters oppressed by their older brother, until they glimpse in Mexico City a space of greater openness. While, Photography on the beach (1962) is the choral account of the members of a family that meets at the grandmother’s house to take a photo.

Carballido is not a customary author, he is extremely modern, who manages the structures at will and speaks with compassion of his characters, which he conveys with grace, truth and humanityhe explains.

Late: Although Carballido addresses social problems, his theater is not of violent confrontation: he gets into the bowels of society and begins to look for a kind way to break those atavisms, and finds and convinces the characters that it can be different.

Another feature of the author of Acapulco on Mondays (1969), according to Moncada, is that its pieces pass easily from the reality of the interior to the center of the country; In addition, their female characters have an acute perception of their conflicts and highlights the use it makes of humor.

Luis Martín Garza Gutiérrez, actor and scenic director, emphasizes that Carballido has a varied work, which goes from realism, the dreamlike and magical realism. From The gold strand (1956) until Córdoba’s watchmaker (1966) Explore complex dramatic structures that challenge the traditional staging.

But underlines the interest of the Dramaturgian Cordoba in classical theater and its reinterpretation of Greek myths in works such as Tense (1962) y Medusa (1958), which considers a reflection of constant innovation.

These two works are very important, because Carballido takes the Greek myth but mete comicity, and goes to the psychological and socio -political of our Mexico. Use humor to criticize contemporary institutions, and that is very important, because without that resource they would not be the pieces they are.

In addition, Garza Gutiérrez emphasizes the influence of Bertolt Brecht theater, which manifests itself in pieces such as Nora (1980) y I also talk about the rose (1966), in which distancing and critical reflection are key elements.

Carballido is the most studied Mexican playwright on international scale, even with academic analysis in universities in Europe and Latin America. His theater is still in force for his exploration of the human condition and for his ability to dialogue with realities.