Roberto Aulés and his connection to independent theater
Keywords:
Roberto Aulés, childhood, experimentation, independent theatreAbstract
Roberto Aulés was born in Buenos Aires on July 31, 1924.He was a renowned actor, director, and playwright who devoted himself especially, but not exclusively, to children's theater.His life came to a tragic end when, on April 3, 1978, he took his own life.The artist is primarily remembered for the creation of his company El Teatro de los Niños, which began in 1954.However, his connection with the independent theater movement —not only at the beginning of his career, but throughout the years— has been little revisited.Therefore, for this work, the proposal will be to address the development of Roberto Aulés within the framework of his time in independent theater.
References
Anónimo (11 de julio de 1942). Interior. Periódico Mural Íntimo de la Agrupación Juan B. Justo. Archivo Nélida Agilda y Noemí Pérez Agilda.
Anónimo (1965). Agresivamente. Teatro XX, año 2, n° 14, pp. 12-13.
Berruti, R. (1964). Diablos y monigotes. Teatro XX, año 1, n° 2, p. 11.
Fukelman, M. (2020). Aportes para el estudio del Teatro Libre de Buenos Aires (1944-1947). Anales del Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México, vol. XLII, pp. 145-177. Disponible en http://www.analesiie.unam.mx/index.php/analesiie/article/view/2730/3506.
Fukelman, M. (2022). Hacia una historia del teatro independiente en Buenos Aires (1930-1944). Ediciones KARPA, California State University. Disponible en https://www.calstatela.edu/al/karpa/hacia-una-historia-integral-del-teatro-independiente-en-buenos-aires-1930-1944.
Fukelman, M. (2024). Apuntes para el estudio del Instituto de Arte Moderno (IAM). AA.VV. 3° JOAE-IHAAA: Jornadas de Investigación en Artes Escénicas del Instituto de Historia del Arte Argentino y Americano: FDA-UNLP: poéticas escénicas al (des)borde de la confusión, Instituto de Historia del Arte Argentino y Americano, Facultad de Artes, Universidad Nacional de La Plata, pp. 60-63. Disponible en https://drive.google.com/file/d/18tlS6lRaFs-GZ4jkzpdwhdyrTKJOfs3D/view.
Jerineldos (1946). Digno de trascender: “Guerrillas de la liberación”. Tribuna, pp. 10-11.
Ordaz, L. (1940). “Los de la calle” De Roberto Aulés. Hombre de América. Fuerte y Libre, n° 7, p. 28.
Ordaz, L. (1957). El teatro en el Río de la Plata. Ediciones Leviatán.
Ordaz, L. (1981). El teatro independiente. Capítulo. La historia de la literatura argentina, vol. 88, pp. 25–48.
Pearson, E. (1943). Derogación de la Ordenanza 8612, que concedió el usufructo de la propiedad Corrientes 1530, para el Teatro del Pueblo. Boletín Municipal de la Ciudad de Buenos Aires, vol. 7022, n°. XX, pp. 2420–2423.
Pérez Castro, R. (22 de junio de 1945). Palabras leídas en la noche del 1er Estreno. Archivo Nélida Agilda y Noemí Pérez Agilda.
Sin firma (1953). “De Pedro Zanetta a Rubén Pesce. Teatro Libre Florencio Sánchez”. Aquí Boedo, n° 1 y 2. Sin página.
Sin firma (sin fecha). “Homenaje al Teatro Florencio Sánchez”. Sin medio. Sin página.
Teatro Libre de Buenos Aires (1946). Teatro Libre de Buenos Aires. Esencia y función, 1. Ediciones del Teatro Libre de Buenos Aires.
Zayas de Lima, P. (2006). A. Diccionario de autores teatrales argentinos (1950-2000). A-K. Instituto Nacional del Teatro, pp. 15-55.
Published
Versions
- 2026-07-20 (2)
- 2025-12-16 (1)
How to Cite
Issue
Section
License
Copyright (c) 2025 María Fukelman

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
As part of its self-archiving policy, the journal's editorial team retains the version of the article that has been corrected and published on the platform for preservation or subsequent use in institutional repositories, virtual archives, or other linked publication venues.
This journal is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Creative Commons License
This means that the original author of the content holds the economic rights. By publishing under a Creative Commons BY-NC-SA license, authors retain ownership of their rights while granting the journal a license to publish their work under these conditions; they also allow third parties to share and adapt the work for non-commercial purposes, provided that authorship is attributed and derivative works are shared under the same license.
Understanding the CC BY-NC-SA License
BY (Attribution): Users must give credit to the author or original source.
NC (Non-Commercial): Users may not use the work or its derivatives for commercial purposes.
SA (ShareAlike): If users modify or adapt the work, they must distribute their contributions under the same CC BY-NC-SA license or a compatible one.










