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VIVIAN MARTÍNEZ TABARES For Cuban theatre, the 90s represented a period of fruitful ethical introspection,

which could be seen in the general choice of themes and theoretical

approaches. This was due in large part to the gradual emergence of an

increasingly influential generation of graduates from the Instituto Superior de

Arte (National Art Institute), who combined rigorous academic background

with a demanding approach to the practice of their art, reflecting the times

whilst respecting the traditions of their predecessors. In the triennial period

under review (1999-2002), the Cuban stage has been showing signs of a

paradigm shift, which has made it harder at times to identify its new purposes.