In the context of twentieth-century Argentine literature and theatre, this essay deals with a set of recent anthologies of dramatic texts. It defines the key functions and features of the drama anthology and studies shifts that have taken place since the democratic transition. Three paradigmatic cases are selected that correspond to aesthetically and socio-historically different moments: the anthology Teatro Abierto, those by the group Caraja-ji, and the recently issued Antologia de teatro latinoamericano, with more than 400 pages dedicated to Argentine theatre. This reveals a movement from works in which the realism and the search for a unified social identity is predominant, to theatre works with a strong presence of filmic and literary intertexts. The most recent anthologies evidence thematic atomization, a great variety in the included aesthetic conceptions, and a shift in the paratexts with a deeper reflection on the work of the anthologist itself.
