In César Vallejo (Santiago de Chuco 1892, Paris 1938) the dissonances and asymmetries that occur in all his work, and even more so in his theater, allow us to contextualize the cultural, social and economic supports of two continents, America and Europe, in a very specific period (1923-1938) that will mark his entire conception of theater beyond the avant-garde and a certain intellectualized naturalism. His trips to the new Republic of the Soviets, his commitment to the social reality of his time, his closeness to the representations of the most committed Russian theater, are building that new aesthetic which we call, with all its ideological load, as "aesthetic from work".

With the present edition of the Complete Theater, which allows, for the first time, the consultation of the facsimile and fingerprint edition, we take an extensive tour that begins with Los Topos and ends with La piedra cansada. In total there are twelve posthumous works in which the influences of authors such as Piscator, Eisenstein, Kirshon or Tairov will be decisive when it comes to responding to a new conception of scenic spaces, just as he was already operating in his poetry that year. "assault on language", "plural speech" that would make him one of the heirs of universality.