The ShepherdessesOne of the most beautiful manifestations of the nativity of Baby Jesus is the shepherdess. According to Hijar Ornelas (2008) the shepherdess "is one of the most genuine relics of popular theater" (p. 23). The shepherdess «belongs to the genre of popular theater and its narrative structure is based on the passage from the Gospel of Saint Luke 2, 1-20» (p. 23). In this chapter of the Bible, an angel appears before a group of shepherds and urges them to go to Bethlehem to worship the Messiah. Pastorelas, or “shepherds' talks,” as they were called in the past, were introduced to Mexico by missionaries during the Spanish conquest and today have become one of the most popular and deep-rooted Christmas traditions in Mexico of the medieval theater in Spain called autos sacramentales. According to Hijar Ornelas (2008), “…sacramental cars were dramatizations of passages from sacred history presented in forms of dialogue” (p. 25). Religious dramatizations were performed to celebrate the day of Corpus Domini. Hijar Ornelas writes that «its form was that of a short appetizer, of a catechetical and edifying nature, composed to facilitate the people's understanding of the mysteries of faith, especially of the sacraments» (p. 34). Some time later, in Italy, between the end of the Middle Ages and the beginning of the Renaissance, the poet Torcuato Tasso introduced a new theatrical genre with his work “Aminta”. Tasso's genre called “pastoral fable” was a “staged shepherdess or Christmas carol” (Fernández Martin, 2009, p. 86), and from here many other works emerged. Among these "The Sacrifice" by Agustín Beccari and "Pastor Fido" by Battista Guarini The theatre... at the center of the card... the "Car of the Adoration of the Three Kings" (unknown Mexico, nd, paragraph 4). The shepherdes nowadays Nowadays it is customary to stage the pastorelas during the Christmas period. Mexican pastorelas differ from place to place, but the central theme remains the same: the struggle between good and evil. Shepherdesses are usually performed in theatres, schools, churches and museums. Fernández Martin (2003) points out that “traditional songs and music have been incorporated that give a particular color to the pastorelas of each region, state, town or city in which they are performed” (p. 93). Verti (1991) emphasizes that pastorelas are fun and cheerful songs, with an innocent and rustic sense of humor” (p. 177), but in Mexico Mexican pastorelas have a strong dose of double entendre, known as Mexican albur, and they are full of irony and political mockery.