Remarkably, this did not lead to a disappearance of written Quechua literature, but only to a shift of focus. From the mid 17th century, it came to be dominated by clearly regional varieties, above all by Cuzco Quechua, which were now promoted by the elites of that city, who sought their legitimisation in the Inca past. Indeed, this resulted in something of a Quechua literary renaissance and golden age, which was expressed specifically in playwriting. The language of the classical Quechua drama of that period is recognisable as distinctively Cusco–Collao Quechua because of the various innovations, especially the lenitions, which increasingly set it apart both from Standard Colonial Quechua as well as from other Southern Quechua varieties. Indian Quechua speakers also produced their own informal devotional texts in manuscript form, partly continuing the tradition of the official ecclesiastical literature of the classical period. During the same period, in addition to the reeditions of older works re-oriented towards Central Quechua, the first religious texts composed specifically in the Quechua varieties of modern Ecuador (by Luis Francisco Romero, 1725, 1753) and Bolivia (by Juan Antonio Dávila Morales, 1739) appeared. This efflorescence was ended by the defeat of the Tupac Amaru rebellion of 1780, which resulted in a severe crackdown on Quechua use, including an explicit ban on Quechua literature and theatre and the abolition of the chair of Quechua at the University of San Marcos.