Uruguayan playwright, born in 1875 and died in 1910. He/She participated in the civil wars of his country and developed his journalistic and theatrical career in Buenos Aires. It is, perhaps, the first important author of the Argentine theatre.
Influenced by the ideas of anarchism and socialism and Italian, self-taught, Bohemian and sick Theatre, he/she wrote twenty plays, which should be added to his series of articles letters from a loose (1900) and the trial the criminal leadership in South America (1903). It is called "golden age" of the teatro argentino to the period that there is between the premiere of the farce of Sánchez, Canillita (1902), led to the scene by a company of Spanish zarzuelas, and 1910, year of the death of the author in a hospital of Milan charity, during a trip to Italy. In this "golden age" appear, along with the own Sánchez, Roberto j. Payró. and Gregorio de Laferrère, whose productions are interpreted by stable companies, like the legendary family of the Podestà, or by artists trained in these casts, always supported by an enthusiastic audience and a very weighted critical journalist. It is a theatre that will last many years and is linked to what we call "traditional realism". Florencio Sánchez offers sketches of Buenos Aires life miserable as the eviction; urban dramatic comedies such as in family; and the Río de la Plata rural tragedy par excellence which is Canyon below (1905). This custom, along with the Creole "zarzuelismo" which comes from the Spanish "chico genre", crystallizes in a native genre that is the "Buenos Aires sainete", which Sánchez is, perhaps, the most penetrating playwright. It is a dramatic literature porteña immigration, and Sánchez, Canillita and the eviction, delves into the problems of those who live in the huts of the suburbs. Gender begins to decline from the 1930s for the abuse of commercial exploitation, but it had filled the venues popular types and prints that reflected what was happening every day in the street, and the new jargon that arose among the population of alluvium.
Counterfeit currency (1902) is another traditional farce on the suburban poor environments. Sánchez also wrote dramas about the conflict between the traditional rural life and the impact of European immigration, as M' son the dotor (1903), and La gringa (1904). He/She also wrote dramatic comedies with morbid theme, like the dead, the rights of health, and studies around the moral and psychological conflicts of the urban middle class, as the past and our children.
AA.VV. two worlds scenario. Theatrical inventory of Ibero-America, Madrid, El Público, (Ministry of culture) theatrical documentation centre, 1989.