At a 1967 symposium in Montreal, I, along with other colleagues, had to answer the question: “What kind of theatre should we do?” Throughout almost my entire professional life, I have been asked that same question and with each new stage of my life I responded differently. But when I heard it in that foreign country, where the only thing familiar to us Latin Americans were the Indian reservations, I suddenly felt I was on another planet, stunned. I don't remember what I answered. I said something vague and unrelated—“anti-culture”—and I realized I was again entering a new stage.

At this time I had just finished Documents from Hell, which was staged by Danilo Tenorio of TEC (Experimental Theatre of Cali), my own theatre in Colombia, and was the most serious attempt we at TEC had made to become involved in the life of our people.