{"title":"Teatro: No pasar. Rendimiento crítico del teatro de Roberto Suárez en su contexto de producción by Ignacio Gutiérrez Muiño (review)","authors":"Laura V. Sández","doi":"10.1353/ltr.2020.0007","DOIUrl":"https://doi.org/10.1353/ltr.2020.0007","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"151 - 152"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45936512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Populism and Performance in the Bolivarian Revolution of Venezuela by Angela Marino (review)","authors":"J. Guerrero","doi":"10.1353/ltr.2020.0009","DOIUrl":"https://doi.org/10.1353/ltr.2020.0009","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"149 - 151"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47161173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Shared Truth: The Theater of Lagartijas Tiradas al Sol by Julie Ann Ward (review)","authors":"Analola Santana","doi":"10.1353/ltr.2020.0011","DOIUrl":"https://doi.org/10.1353/ltr.2020.0011","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"153 - 154"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45056834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dancing Bahia: Essays on Afro-Brazilian Dance, Education, Memory, and Race ed. by Lucía Suárez, Amélia Conrado, and Yvonne Daniel (review)","authors":"Carlo Minchillo","doi":"10.1353/ltr.2020.0010","DOIUrl":"https://doi.org/10.1353/ltr.2020.0010","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"147 - 148"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48293173","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Californios, Anglos and the Performance of Oligarchy in the U.S. West: How the First Generation of Mexican Americans Fashioned a New Nation by Andrew Gibb (review)","authors":"M. Lozano","doi":"10.1353/ltr.2020.0006","DOIUrl":"https://doi.org/10.1353/ltr.2020.0006","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"145 - 146"},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46822055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Inspired by the 1990's hit film, Pretty Woman, and the gritty reality of prostitution, César Enríquez's teatro-cabaret piece, La Prietty Guoman, takes shape. However, the protagonist of this performance, La Prietty, differs from Julia Roberts' film character: La Prietty is a transwoman and tells her story from beyond the grave. In an example of teatro-cabaret par excellence, the protagonist keeps the audience engaged through rapid costume changes, quick wit, and impeccable comedic timing. This essay focuses on how La Prietty filters her socio-politically driven humor through live musical performance, emphasizing US pop songs and their Divas from the 1990s. With her re-working of popular hits such as "Like a Virgin" and her story of discrimination, abuse, and hope for love, La Prietty captures the audience. An interdisciplinary framework is employed to analyze the piece's performance of an (after) life and to highlight how audio-visual transformations can resist the erasure of transwomen in contemporary Mexico and, on a broader scale, offer hope to marginalized Others.
{"title":"Soundtrack of an (After)Life: Performing Transfemicide, Mourning, and Pop Music in La Prietty Guoman by César Enríquez","authors":"Christina Baker","doi":"10.1353/ltr.2020.0012","DOIUrl":"https://doi.org/10.1353/ltr.2020.0012","url":null,"abstract":"Abstract:Inspired by the 1990's hit film, Pretty Woman, and the gritty reality of prostitution, César Enríquez's teatro-cabaret piece, La Prietty Guoman, takes shape. However, the protagonist of this performance, La Prietty, differs from Julia Roberts' film character: La Prietty is a transwoman and tells her story from beyond the grave. In an example of teatro-cabaret par excellence, the protagonist keeps the audience engaged through rapid costume changes, quick wit, and impeccable comedic timing. This essay focuses on how La Prietty filters her socio-politically driven humor through live musical performance, emphasizing US pop songs and their Divas from the 1990s. With her re-working of popular hits such as \"Like a Virgin\" and her story of discrimination, abuse, and hope for love, La Prietty captures the audience. An interdisciplinary framework is employed to analyze the piece's performance of an (after) life and to highlight how audio-visual transformations can resist the erasure of transwomen in contemporary Mexico and, on a broader scale, offer hope to marginalized Others.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"32 - 5"},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48899967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The purpose of this work is to analyze Alfredo Castro's dramatic text Historia de la sangre, a complex work that explores the memory of trauma in the body and language. Based on the headlines of notorious crimes, this play depicts the story of violated bodies during the military dictatorship in Chile and in the process unveils different dimensions of memory. In Historia de la sangre, testimonies are recognized as part of the construction of a collective memory in which individual and collective biographies overlap. In addition, this dramatic work disassembles the nation's narrative about gender classifications and family roles.
{"title":"Historia de la sangre de la compañía Teatro La Memoria: el trauma social inscrito en el cuerpo posdictadorial","authors":"Andrea Jeftanovic, L. Garrido","doi":"10.1353/ltr.2020.0013","DOIUrl":"https://doi.org/10.1353/ltr.2020.0013","url":null,"abstract":"Abstract:The purpose of this work is to analyze Alfredo Castro's dramatic text Historia de la sangre, a complex work that explores the memory of trauma in the body and language. Based on the headlines of notorious crimes, this play depicts the story of violated bodies during the military dictatorship in Chile and in the process unveils different dimensions of memory. In Historia de la sangre, testimonies are recognized as part of the construction of a collective memory in which individual and collective biographies overlap. In addition, this dramatic work disassembles the nation's narrative about gender classifications and family roles.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"33 - 56"},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66302734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"En escena nacional: los temas que nos afligen","authors":"Enrique Mijares","doi":"10.1353/ltr.2020.0004","DOIUrl":"https://doi.org/10.1353/ltr.2020.0004","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"131 - 142"},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45820932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article analyzes Federico León's 1975 documentary play, Las ideas, within the context of what Jordana Blejmar calls the "autofictional turn" in contemporary Argentine cultural production. Taking into account Hans Thies-Lehmann's theories on postdramatic theatre and studies by Jean Graham-Jones, Brenda Werth, Cecilia Sosa, and others on the recent proliferation of documentary theatre in Buenos Aires, I analyze León's Las ideas in relation to the role of the artist and artistic creation in 21st-century Argentina, specifically the way the play addresses issues of reality and simulation in a world increasingly dominated by technology and misinformation. Through the guise of autofiction, Las ideas comically blurs the borders between fiction and reality, leading the spectators to reflect on their own role in constructing reality and countering censorship.
{"title":"A Portrait of the Artistic Process: Federico León's Las ideas","authors":"Nina Longinovic","doi":"10.1353/ltr.2020.0000","DOIUrl":"https://doi.org/10.1353/ltr.2020.0000","url":null,"abstract":"Abstract:This article analyzes Federico León's 1975 documentary play, Las ideas, within the context of what Jordana Blejmar calls the \"autofictional turn\" in contemporary Argentine cultural production. Taking into account Hans Thies-Lehmann's theories on postdramatic theatre and studies by Jean Graham-Jones, Brenda Werth, Cecilia Sosa, and others on the recent proliferation of documentary theatre in Buenos Aires, I analyze León's Las ideas in relation to the role of the artist and artistic creation in 21st-century Argentina, specifically the way the play addresses issues of reality and simulation in a world increasingly dominated by technology and misinformation. Through the guise of autofiction, Las ideas comically blurs the borders between fiction and reality, leading the spectators to reflect on their own role in constructing reality and countering censorship.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"53 1","pages":"57 - 80"},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45792140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：