Departing from the theoretical concept of hypertextual theatre espoused by playwright,
critic, and scholar Enrique Mijares, this essay describes the singular characteristics
that grant a sense of unity to the hundreds of plays that have been written in the northern part
of Mexico since the mid-90s in response to a reality that defies conventional dramatic representation.
Taking examples from plays by Jesús González Dávila, Víctor Hugo Rascón Banda,
Virginia Hernández, Medardo Treviño, and Enrique Mijares, among others, Galicia confirms
a new conceptualization of theatre that breaks away from linearity and binary oppositions. In
response to and under the influence of constant changes in science and technology, the Teatro
del Norte resorts to such techniques as intertextuality, hyperlinks, videoclips, multi-faceted
characters, polysemy, and fragmentation to convey the disorder and instability that reigns
throughout the region. (JEB, article in Spanish
