As well as in the context of the Interparishal Enconter of Culture Amaguaña 2000 (17 of June 2000) as in the receiving of the Popular Command Baton given by the legendary Tránsito Amaguaña to General Paco Moncayo (02 September 2000), the staging was a work of a great amount of people:

Next, you can reproduce an article of the author of the theater piece Victories of the Ticci Cápac Atahualpa, whenever are done mentions of the source. If you wish to reproduce this article by any means you have to tell it so to the author, Carlos Levoyer.

You can quote it as follows:

Reproduced from the theatre piece "Victories of the Ticci Capac Atahualpa"

by Carlos Levoyer ([email protected]) from

http://www.geocities.com/kingofthenewworld/staging.html

Thank you.

Basic criteria for the staging of the

Victories of the Ticci Cápac Atahualpa

With admirable penetration in the subject of Atahualpa and its time, Doctor Don Luis Andrade Reimers has left a series of continuous studies on the conflicts, development and outcomes that took place in what today are the Republics of Colombia, Ecuador, Peru, Bolivia, Chile and Argentina. Andrade has argued very coherently on the base of text critic of chroniclers and historians. Admirable is the reconstruction of the period that goes from the invasions of Túpac Yupanqui to the definitive establishment of the Spanish Colonial power in this part of the American Continent. It stands out in his argumentation the coherence, the way to interlace the facts, to explain the concrete situations in which the chroniclers were in such a way that their writings are justified as much as their forms to see the situations of those times. Mainly it leaves in clear and it routs the ideological argument that tries to show Atahualpa like the overcome Inca. In this sense the recovery of the meaning of Ticci Cápac (King of the New World) is very valuable.

On the basis of the chroniclers and helped by the argumentations of Andrade we have come with our Victories of the Ticci Cápac Atahualpa to socialize such historical contents dramatically.

On the other hand, concerning the studies of dramatic art and theory of art, there is the situation in which are the theoretical studies that have been impelled in English language about the problem of the meaning of the Poetics of Aristotle (please look at the Bibliography and the Links). In fact, from the last decade of the XIX century Butcher inaugurates a very sustained speculative tradition that goes accompanied of authors like Bywater, House, Fyfe, Else, Golden, to culminate in Hardison. Such authors in most valuable attempts have discussed, each one with greater skill than the other, on the famous book of Aristotle. We, attending to these texts, and on our theater experience have given with the basic argument and last conclusions that necessarily are extracted of such studies giving to birth what from years back we have called the Theater of the Actions that produces the theoretical sustenance for our approach to the historical subject of the Ticci Cápac Atahualpa.

So, by content, the theater piece Victories of the Ticci Cápac Atahualpa dramatizes the historical facts analyzed by Andrade and narrated by the chroniclers. Because of the form this dramatic piece belongs to the Theater of the Actions.

But the Victories of the Ticci Cápac Atahualpa had to face so much by its content as by its form a fact that is placed in its interior and that unites form and matter: the socialization. Its about that the native pre-Inca cosmo-vision (that suffered in both processes of domination on the part of the Incas first, and of the Spaniards later) took surprising turns mainly by the fact of its surviving in spite of the two processes of domination. Naturally the forms that it had to adopt for surviving were always under the scheme imposed by the dominators that took advantage of it looking forward to the administration of the working hands, their use, as well as the exploitation of all type of material resources originated in these places called at that time Chinchaysuyu. Any how, the contents of that pre-Inca cosmo-vision survived in some way. And is not on our part something like a descontextualized archaism that would not see but in that cosmo-vision the object to recover without concerning nor the contributions of the Spanish and western culture and nor the situations in which our nation is historically nowadays. Very on the contrary, we recognize the values of the West, so is so that we did not doubt in going to its very sources: the Greek thought (democracy, popular participation, etc.), its dramatic art (tragedy, comedy, etc.) and its philosophy (Aristotle). But if its not a descontextualized archaism it does intend a recovery of the values of liberation that most clearly occurred in the war processes of the Ticci Cápac when facing the invasions of the Incas and, therefore, of thinking in those processes like those by which it was born what today we call Ecuador.

The Theater of the Actions socializes the contents of that pre-Inca cosmo-vision through the dramatization in public stages, opened and massive, interlacing in its methodology that pre-Inca cosmo-vision. Although it is worth the trouble to have present that the situation in which was the Ticci Cápac was very peculiar in the sense that being undertaken the liberation wars he obtained the final victory over the old and sacred city of Cuzco, capital of the Inca empire, defeating the Inca power all over the Tahuantinsuyu. Won as they were independence and liberation, nevertheless the Ticci Cápac and the new civil administration named by Atahualpa had to face the fact of the handling and ordering of the Tahuantinsuyu to create the New World. Here is most valuable and elucidator the argument of Andrade in the question about the delivery of gold and precious metals to the Spaniards by Atahualpa in order to obtain by means of the interchange between both sides of the Atlantic (Spain and the Tahuantinsuyu) material elements indispensable and valuable for the reconstruction of the Tahuantinsuyu and the creation of the New World, elements like cattle, pigs, certain birds, professors of writing. Well, in that task naturally they would have had to use the in force administrative system created by the Incas, even though the final project was to shape the New World in a social different form of organization and its corresponding administration, according to the criteria of liberation, independence, and annihilation of the blood privileges or belonging to an ethnic group. If it has been historically real that Atahualpa faced these first tasks of the new administration or not, it is a task that is not incumbent on to us to explain, but we have to have present that the elements of that pre-Inca cosmovision in the project of liberation of the Ticci Cápac would have been modified necessarily by the fact it self of the magnitude as much as of the liberating enterprise of the released territories. The different nations invaded by the Incas could of have an opened way torwards its revitalization.

In any case the Theater of the Actions with its eagerness to break the dividing line between public and actors has to be conscious that the contents of the pre-Inca cosmovision of what today we call Ecuador, at the moments of the wars of liberation and independence were in the described situation. The Theater of the Actions socializes that cosmovision in as much and as soon as those indicated values are related directly to the situation of our country at present moment.