that she herself starred due to its popularity. In the 1970s she participated in her best films. In 1972, she stars in La Martina", inspired by her most popular song. In 1973 she starred in the fantastic film La Tigresa. In that same year, she works in the film The Monastery of the Vultures of the filmmaker Francisco del Villar. At the end of the 1970s and during the 1980s, Serrano's appearances at the movies were rather sporadic. She performs special performances in films like Cabaret Nights (1978) and Lola la trailera (1982). In 1985 Irma produces Naná inspired by the controversial same name stage play, which she herself starred in Mexico years ago. In 1986, Serrano made her last relevant film performance in the horror film The Lovers of the Lord of the Night next to Isela Vega and Emilio Fernández. Theater In 1972, Serrano acquired the old Virginia Fábregas Theater, located in the street of Donceles, in the Mexico City's Historic Center. The actress remodeled the theater and renamed it Teatro Fru Fru. From the 1970s, Serrano stars and produces a series of theatrical montages that caused controversy. Of them it emphasizes Naná (1973), a free adaptation of Serrano of the same name novel of Emile Zola. The stage play was produced by Serrano and directed by Maricela Lara. Naná caused controversy in Mexico because of its high erotic content, and remained on the billboard for four uninterrupted years (1973-1977). In 1977, Serrano partnered with actor, producer, writer and director Alejandro Jodorowsky to perform the stage play Lucrecia Borgia. Nevertheless, the differences between both personages provoked a dispute that caused that both independently produced its own version of the work. Other stage plays starring by Serrano in the Teatro Fru Frú were A Lady Without Camelias (1977), Oh ... Calcutta (1977), Yocasta Reina (1978), The Cross-legged War(1979) and the autobiographical A calzón amarrado (1980, based on the controversial autobiographical book published by La Tigresa a little earlier). In addition to starring in these works, Serrano also served as co-producer, co-director and co-author of the arguments, some along with the director, actor and producer Pablo Leder. Her last theatrical projects were The Two Emanuele (1984, alongside Isela Vega and also represented in the Million Dollar Theater of Los Angeles) and The Well of Solitude (1985). As a producer, she also performed a series of theatrical productions, some of them