Tracing Mexico's Shifting Cultural Identity through Print Media: “Galeria del Teatro Infantil” chapbooks (1918)

The Galeria del Teatro Infantil chapbooks are a great example of José Guadalupe Posada’s work as an artist. His cover art encapsulates the main idea of the stories within, while also catching the audience's attention. These particular chapbooks were marketed for children - “Teatro Infantil” means Children’s Theater. The chapbooks retell entertaining stories, almost like novelas.

Una Corrida de Toros o el Amor de Luisa is a short story about a love triangle. Two men, Roberto and Luis, are both in love with the same woman. However, little does Roberto know that Luis is planning to kill him to have Luisa to himself.

Por Finjir Espantos is a short story about a boy faking paranormal encounters to try to scare his father. The father finds out, and the boy is grounded.

El Placer de la Niñez is a short story about a woman who is heartbroken about her lover’s demise. In the end, she dies of a broken heart, and joins her lover in “eternal passion.”

While these stories may seem a bit fantastical, they can teach children about love, passion, and respect. These three feelings have their place in Mexican culture. Love between spouses, siblings, and family in general is important. The people of Mexico put passion into everything they do - anything from work, relationships, or causes they believe in. Respect is also important. Like in most cultures, Mexican culture puts an emphasis on respecting elders.

The chapbooks were inexpensive, costing only 10 cents in 1918. This could have made it easy for parents to find entertainment for their kids, while also teaching them literacy skills. The entertainment value could have also been used to distract kids from the shifting political climate around them, as the Mexican Revolution had just ended in 1917. 

Posada worked in Antonio Vanegas Arroyo’s shop in Mexico City. Both of these men had passed away by the time the chapbooks were printed in 1918. The shop “Imprenta de la Testamentaria de Antonio Vanegas Arroyo” was run by Vanegas Arroyo’s son and grandson after his death. The shop was able to stay in business because Posada and Vanegas Arroyo’s collaborative works were so popular during this time period. 

Posada was well known for his illustrations, most notably his political cartoons. The products that displayed his works of art were in high demand in the early 20th century, so Posada had to find a way to make more of his prints quickly. He came up with a method involving zinc plates. Although his zinc plate prints were not as high quality and detailed as his traditional prints, they still sold quite well. As prints were made quickly they could be sold for less, meaning all kinds of people could buy his products. In 1918, the chapbooks were selling for 10 centavos or cents.