Postdrama communication in Spanish language: Ecuador and Spain. Origins and current scene. The indigenous postdrama. (La flor de la Chukirawa, by Patricio Vallejo Aristizábal, and Gólgota Picnic, by Rodrigo García)

[...]with the Elizabethan spectacle, we discover the theater again. [...]the dramatic conception in its Greek origin influences the theatrical tradition in Spanish language, but the decidedly anti-classical vision of the latter comes from the techniques we might call narratives of medieval theater. [...]the theater and its organizational conception was not born only in Greece, although this root is certainly decisive, but both of them (theatre and its conception) reinvent themselves in a surprising way through the texts that come from the Middle Ages. [...]the Western Dramatic Space counts with the canonical aspects that concern what we call the dramatic organization. The characteristics of medieval Spanish theater are proposed, especially its narrative intensity, as an identity element of the strongest Spanish culture in front of the Greco-Latin theater of classical trend. [...]the last section of this work has been devoted to the analysis of the similarities and differences between the theater in Spanish language currently in Europe, Gólgota Picnic, and the resident in Ecuador with its characteristics and influence on the Indigenous culture, Patricio Vallejo Aristizábal, La flor de la Chukirawa.