Perspectives on Contemporary Spanish American TheatreFrank N. Dauster Bucknell University Press, 1996 - 157 Seiten In this collection, nine specialists in Spanish American theatre examine social and aesthetic issues reflected in today's vital drama. The essays in this volume reflect a pattern of interests rapidly becoming dominant among scholars. Several of them deal with questions of genre or focus on metatheatre and parody, theatrical techniques widespread in Latin America. The majority treat these topics in conjunction with their social context. Dominant themes include the question of whether there can be culture-specific genres, incorporating the extremely varied ethnic and cultural strands of the Spanish American social fabric, or the use (and reinterpretation) of tragic and comic structures and classical myths to express social marginality or demythologize received history. A number of essays focus on the problematic situation of women in Spanish American society and their struggle to achieve equality in a highly traditional culture. At the same time the authors examine the role of women in the theatre, both as protagonists and as creative artists, and their struggle to gain acceptance of nontraditional roles and lifestyles. |
Inhalt
| 19 | |
Maganas Malinche and Medea | 37 |
A Few Exemplary Cases | 53 |
Bad Girls and Good Boys in Mexican Theater in the 1990s | 67 |
Antigona furiosa and the Madres de la Plaza de Mayo | 77 |
A World of Broken Dreams | 94 |
Generation of 1924 The Cases of Arlt and Villaurrutia | 109 |
From Rosalba y los Llaveros to Rosa de dos aromas | 126 |
Tragedy and Marginality in Jose Trianas Medea en el espejo | 145 |
Häufige Begriffe und Wortgruppen
action Adrián Aguila o sol Antígona Antígona furiosa Antigone Argentine Arlt Astrid Hadad audience Bernal Buenos Aires canon Carlos characters classical comedy comic Conquest contemporary Cortés Cossa Creon critical Cuauhtémoc cultural curiosidad Cypess death dialogue Dirty War discourse dramatic dramatists Emilio Carballido Erundina espejo essay Euripides feminine feminist Frank Dauster Gambaro genre Greek Griselda Gambaro humor Jason José Triana Julián Junta La Malinche language Latin American Theatre Lázaro Llaveros Madres Magaña male Malinche María Marlene and Gabriela Medea metatheatrical Mexican drama Mexico Moctezuma mother mujer myth palabra parody perspective play playwrights political postmodern present reality reference Roberto Roberto Arlt Roberto Cossa role Rosa Rosalba Sabina Berman scene sexual situation social society Sophocles Sor Juana Spanish American Theatre stage story Teatro Teatro del Pueblo techniques theatrical theme tion traditional tragedy tragic transgression University Press Usigli Villa woman women words writing Xavier Villaurrutia
Beliebte Passagen
Seite 81 - He is dead and gone, lady, He is dead and gone, At his head a grass-green turf, At his heels a stone.
Seite 82 - First we will kill all the subversives; then we will kill their collaborators; then . . . their sympathizers, then . . . those who remain indifferent; and finally we will kill the timid.
Seite 133 - Thus the movement from pistis to gnosis, from a society controlled by habit, ritual bondage, arbitrary law and the older characters to a society controlled by youth and pragmatic freedom is fundamentally, as the Greek words suggest, a movement from illusion to reality.
Seite 132 - ... mayor gravedad. (Se limpia la frente. Tose un poco.) Lázaro, tú sabes que yo hago las cosas con rigor, pero exclusivamente para bien de todos ustedes. Y ya tú sabes, por eso mismo, que no me parece bien, ni soy partidario... (Se humedece los labios. Camina.) Esto es: lo que quiero decir es nada más esto. (Se seca el sudor de las manos.) Sale sobrando hablar de lo que ocurre, porque todos lo sabemos bien, pero... (Carraspea.) Mira, hijo, en resumen, lo poco que hay que decir es apenas lo siguiente....
Seite 29 - Traquetea tráquea aquea. El carrascaloso se rasca la costra de caspa. Doña campamocha se atasca, tarasca. El sinuoso, el silbante babeante, al pozo con el gozo. Al pozo de ceniza. El erizo se irisa, se eriza, se riza de risa. Sopa de sapos, cepo de pedos, todos a una, bola de sílabas de estropajo, bola de gargajo, bola de visceras de sílabas sibilas, badajo, sordo badajo. Jadeo, penduleo desguanguilado, jadeo.
Seite 23 - I mean those well-known and popular novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages: The French Lieutenant's Woman, Midnight's Children, Ragtime, Legs, G., Famous Last Words.
Seite 34 - If this summary sounds cynical, the effect is only partly intended. There is, I believe, an element of mutual opportunism in the alliance of feminists and postmodernists, but it is not necessarily a bad thing. The opportunism operates not so much, or perhaps not at all, in the actual practice...
Seite 19 - If we think of modernism as a struggle to make ourselves at home in a constantly changing world, we will realize that no mode of modernism can ever be definitive.