Abstract
Among the members of the present theater movement in Mexico, Carlos Sol6rzano represents a special set of formative circumstances. A Guatemalan residing in Mexico, he has never suffered the attraction of the provinces, which has been such an important influence on most of the members of the movement. Since his first play he has demonstrated his adherence to a cosmopolitan theater, and even those works which are set in the provinces avoid narrow regionalism. This orientation is demonstrated in his work as Artistic Director of the University Theater which, despite its title, is comprised of professional people dedicated to the diffusion of the best of modern theater. Among the authors presented since its opening in 1952 are Christopher Fry, Kafka, Pirandello, Irwin Shaw, the contemporary Mexican Emilio Carballido, Sol6rzano himself, Camus (the world premiere of the revised version of Le malentendu, translated by Solorzano, as well as Sophocles, Shakespeare, Ruiz de Alarcon Ben Jonson, and Musset. This eclectic cosmopolitanism is also characteristic of Sol6rzano's own work, which includes three full-length and five one-act plays. They demonstrate remarkable variety, underlining the technical versatility characteristic of Sol6rzano and, in general, of the newer Latin American theater movement.
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