The Bolivian playwright Raul Salmon de la Barra installed in the theater scene in the 1940s two figures: the cholo and chola, who since the sixteenth century have been considered a contamination of the "pure Andean world". His work Joven, rica y plebeya is part of the hybrid literary production. Here the "one" and the "other", "conqueror and conquered" are two sides that are mixed, which can be seen in dramatic spaces where Aymara objects (Aguayos in a rhomboidal form on the walls) and Creole objects (carpets) interact closely. This mix of an identity has two origins (Aymara and Western). In this way, an analysis is applied to the dramatic spaces that refer to the cultural memory of the mother and others to the dramatic spaces that generate tension in some of the characters that have been considered as imperatives of the Creole. This problem is present especially in Maria, the daughter of the chola, who when returning when returning home does not stand living "among cholos". However, at the end of the work, Mary recognizes that an identity is based on the valuation of their ancestors. In the analysis of the dramatic space I will work: Fernando Ainsa in Proposal for a Latin American Geopoetics (2007); Ramon Griffero in Response to a questionnaire by Rocio Fumey. Poetics: the dramaturgy of space (2001); Jose Garcia Barrientos and his text As commented on a play: essay of method (1992) and Christopher Balme in Introduction to theater studies (2013).