Carlos Solorsano is one of the most important playwrights in modern Mexican theater, and his most famous play, Las Manos de Dios deals with a new level of religious issues that subvert the traditional Catholic dogma. This subversion to Catholicism is linked to the liberation theology that emerged in the late 1960s by Gustavo Gutierrez. Carlos Solorsano’s Las Manos de Dios contains almost all the principal ideas of liberation theology. On this level, Las Manos de Dios, written in 1956, can be the forerunner work of liberation theology.
Also on a formal level, Las Manos de Dios has a very interesting point that it uses the opposite techniques of the symbolism of allegory and the realism. fundamentally this play relies on realistic techniques, and at the same time uses the allegory technique which we can see in Spanish auto sacramental dramas of the 17th century. First of all, this play, through the realistic aesthetics, shows a vivid political and sociological picture of the realities of Latin America in the 1950s. At the same time, with the allergy technique of the characters, the author is seeking the universality of the meaning that events imply by transcending the limits of realism.
So this study investigates the dual aspects of allegory and reality, as well as the liberating theological elements in the work.