Pub Date : 2024-01-25DOI: 10.1353/ltr.2023.a917968
Enrique Mijares
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> <em>Colacerdo</em>, puesta en escena de <em>Cien años de soledad</em> <!-- /html_title --></li> <li> Enrique Mijares </li> </ul> <p>Inspirada en la novela cumbre de Gabriel García Márquez, <em>Colacerdo</em> —síntesis escénica de <em>Cien años de soledad</em>— cerró con broche de oro las actividades del XV Congreso de la Asociación Española de Estudios Literarios Hispanoamericanos (AEELH). Con el motivo de revisitar el Boom Latinoamericano, este congreso se realizó en septiembre de 2023 en Las Palmas de Gran Canaria.</p> <p>Producido por el Teatro La República, escrito y dirigido por su fundador, Ignacio Cabrera, e interpretado por Toni Báez, Rubén Sánchez y Manu Jiménez, <em>Colacerdo</em> llega a la cita luego de un exitoso estreno —mayo del mismo año— en el Teatro Pérez Galdós y de una exitosa serie de presentaciones tanto en Canarias como en la península ibérica.</p> <p>Es el propio director, durante una sesión previa en el Congreso mencionado, quien se encarga de pormenorizar la excepcional aventura de concebir y realizar un montaje sobre la novela que dio origen al auge que tuvo nuestra narrativa, primero de este lado del Atlántico —a partir de la publicación de <em>Cien años de soledad</em> en la Editorial Sudamericana de Argentina— y después en Europa —gracias al proyecto de la agencia editorial de Carmen Balcells, el llamado Boom latinoamericano.</p> <p>El dilema para el director, en funciones de dramaturgo, consistía en concentrar, para un montaje teatral de máximo un par de horas, esa estirpe atrapada en el eterno retorno de un siglo atrapado en el manuscrito de Melquíades, varios cientos de páginas de realismo mágico, una realidad alterna de Macondo, semejante a la magia cotidiana que distingue tanto a las familias como a los pueblos hispanoamericanos. El resultado de ese concienzudo <em>tour de force</em> es una apretada guía cronológica, solución que <strong>[End Page 87]</strong></p> <br/> Click for larger view<br/> View full resolution <p></p> <p></p> <br/> Click for larger view<br/> View full resolution <p></p> <p><strong>[End Page 88]</strong> recuerda la estrategia de acompañar con un mapa genealógico de la familia Buendía las subsecuentes ediciones de esta obra maestra de la literatura universal. Como explica Cabrera,</p> <blockquote> <p><em>Colacerdo</em> está protagonizado por tres gitanos que van por el mundo contando la historia que les contaron sus padres […] y eso nos vale como disculpa, porque si cuentas algo que a su vez te han contado, siempre te dejas muchas cosas atrás. Episodios que para unos pueden ser importantes y para otros no lo son. Eso nos abre un campo inmenso porque no puedes meter la literatura de García Márquez en un espectáculo.</p> </blockquote> <p>El director también explicó que los escenarios donde se presentó previamente la obra, en especial el Teatro Pérez Galdós de su estreno,
{"title":"Colacerdo, puesta en escena de Cien años de soledad","authors":"Enrique Mijares","doi":"10.1353/ltr.2023.a917968","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917968","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> <em>Colacerdo</em>, puesta en escena de <em>Cien años de soledad</em> <!-- /html_title --></li> <li> Enrique Mijares </li> </ul> <p>Inspirada en la novela cumbre de Gabriel García Márquez, <em>Colacerdo</em> —síntesis escénica de <em>Cien años de soledad</em>— cerró con broche de oro las actividades del XV Congreso de la Asociación Española de Estudios Literarios Hispanoamericanos (AEELH). Con el motivo de revisitar el Boom Latinoamericano, este congreso se realizó en septiembre de 2023 en Las Palmas de Gran Canaria.</p> <p>Producido por el Teatro La República, escrito y dirigido por su fundador, Ignacio Cabrera, e interpretado por Toni Báez, Rubén Sánchez y Manu Jiménez, <em>Colacerdo</em> llega a la cita luego de un exitoso estreno —mayo del mismo año— en el Teatro Pérez Galdós y de una exitosa serie de presentaciones tanto en Canarias como en la península ibérica.</p> <p>Es el propio director, durante una sesión previa en el Congreso mencionado, quien se encarga de pormenorizar la excepcional aventura de concebir y realizar un montaje sobre la novela que dio origen al auge que tuvo nuestra narrativa, primero de este lado del Atlántico —a partir de la publicación de <em>Cien años de soledad</em> en la Editorial Sudamericana de Argentina— y después en Europa —gracias al proyecto de la agencia editorial de Carmen Balcells, el llamado Boom latinoamericano.</p> <p>El dilema para el director, en funciones de dramaturgo, consistía en concentrar, para un montaje teatral de máximo un par de horas, esa estirpe atrapada en el eterno retorno de un siglo atrapado en el manuscrito de Melquíades, varios cientos de páginas de realismo mágico, una realidad alterna de Macondo, semejante a la magia cotidiana que distingue tanto a las familias como a los pueblos hispanoamericanos. El resultado de ese concienzudo <em>tour de force</em> es una apretada guía cronológica, solución que <strong>[End Page 87]</strong></p> <br/> Click for larger view<br/> View full resolution <p></p> <p></p> <br/> Click for larger view<br/> View full resolution <p></p> <p><strong>[End Page 88]</strong> recuerda la estrategia de acompañar con un mapa genealógico de la familia Buendía las subsecuentes ediciones de esta obra maestra de la literatura universal. Como explica Cabrera,</p> <blockquote> <p><em>Colacerdo</em> está protagonizado por tres gitanos que van por el mundo contando la historia que les contaron sus padres […] y eso nos vale como disculpa, porque si cuentas algo que a su vez te han contado, siempre te dejas muchas cosas atrás. Episodios que para unos pueden ser importantes y para otros no lo son. Eso nos abre un campo inmenso porque no puedes meter la literatura de García Márquez en un espectáculo.</p> </blockquote> <p>El director también explicó que los escenarios donde se presentó previamente la obra, en especial el Teatro Pérez Galdós de su estreno,","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"62 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581555","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 use of anonymity and pseudonyms is a recurring practice among writers from different periods, genres, countries, and literary currents. The reasons for this practice range from modesty to prejudice, the search for fame, or even a simple whim. While some pseudonyms are familiar and endearing—Fernando Pessoa, Virginia Woolf, and Pablo Neruda, for example—, others, like the Cuban playwright Justo Eleboro, are lost in the annals of Caribbean and island literature. This article explores the brief work of Eleboro, a 19th-century Literary costumbrismo playwright whose dramaturgy constitutes a denunciation of colonialism, racism, slavery, and the phallocentric regimentation of gender roles. With an interdisciplinary perspective that combines historiographical and political analysis, this essay reads Eleboro's plays from the moment of the discovery of his true identity—Magín Robert—, which had been buried in a pseudonym for more than a century. An understanding of the latter's political and revolutionary militancy is crucial to the process of contextualizing his work and making it visible.
{"title":"Magín Robert: El hombre detrás del seudónimo","authors":"Julio Antonio Molinete","doi":"10.1353/ltr.2022.0016","DOIUrl":"https://doi.org/10.1353/ltr.2022.0016","url":null,"abstract":"Abstract:The use of anonymity and pseudonyms is a recurring practice among writers from different periods, genres, countries, and literary currents. The reasons for this practice range from modesty to prejudice, the search for fame, or even a simple whim. While some pseudonyms are familiar and endearing—Fernando Pessoa, Virginia Woolf, and Pablo Neruda, for example—, others, like the Cuban playwright Justo Eleboro, are lost in the annals of Caribbean and island literature. This article explores the brief work of Eleboro, a 19th-century Literary costumbrismo playwright whose dramaturgy constitutes a denunciation of colonialism, racism, slavery, and the phallocentric regimentation of gender roles. With an interdisciplinary perspective that combines historiographical and political analysis, this essay reads Eleboro's plays from the moment of the discovery of his true identity—Magín Robert—, which had been buried in a pseudonym for more than a century. An understanding of the latter's political and revolutionary militancy is crucial to the process of contextualizing his work and making it visible.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"56 1","pages":"104 - 85"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42446998","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":"Performance Activism: Precursors and Contemporary Pioneers by Dan Friedman (review)","authors":"Mauricio Tafur Salgado","doi":"10.1353/ltr.2022.0024","DOIUrl":"https://doi.org/10.1353/ltr.2022.0024","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"56 1","pages":"144 - 146"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46257861","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":"Víctor Hugo Rascón Banda: Un dramaturgo en la memoria","authors":"E. Franco","doi":"10.1353/ltr.2022.0022","DOIUrl":"https://doi.org/10.1353/ltr.2022.0022","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"56 1","pages":"141 - 142"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47537790","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 studies the Baile o sainete del mercachifle, by Diego Molina, an entremés produced in the Audiencia de Quito, around 1750. This theatrical piece articulates the anxiety of the colonial elite regarding the access of subalternized groups—especially women of African descent—to objects that were considered exclusive to the ruling class, such as the textiles and luxury accessories in which the play's protagonist trades. The article highlights the socio-racial and gender tensions of colonial society as portrayed in the relationships between the main character and the female characters. The analysis of Molina's sainete reveals the urge of the eighteenth-century Enlightenment to control the apparent social disorder caused by sexual unions between people of different socio-racial status and by the transgressions that individuals considered to be of an inferior position were willing to commit in order to move up. This study highlights the complexities and paradoxes posed by interracial unions, the yearning of the colonial elite to move towards an ideal, predominantly White-Spanish society, and the efforts to define the identity of colonial subjects.
摘要：本文研究了约1750年由迭戈·莫利纳（Diego Molina）在基多歌剧院（Audiencia de Quito）制作的一首名曲《集市之歌》（Baile o sainete del mercachifle）。这部戏剧作品表达了殖民精英对下层群体——尤其是非洲裔女性——接触被认为是统治阶级专属的物品的焦虑，比如剧中主人公交易的纺织品和奢侈配饰。这篇文章强调了殖民社会的社会种族和性别紧张关系，正如主人公和女性角色之间的关系所描绘的那样。对莫利纳的sainete的分析揭示了18世纪启蒙运动控制明显的社会混乱的冲动，这种混乱是由不同社会种族地位的人之间的性结合以及被认为处于劣势的个人为了晋升而愿意犯下的违法行为造成的。这项研究强调了跨种族联盟带来的复杂性和悖论，殖民精英渴望建立一个以白人为主的理想西班牙社会，以及努力定义殖民主体的身份。
{"title":"Vestimenta, raza y calidad en el Baile o sainete del mercachifle de Diego Molina","authors":"Estefanía Flores Ortiz","doi":"10.1353/ltr.2022.0013","DOIUrl":"https://doi.org/10.1353/ltr.2022.0013","url":null,"abstract":"Abstract:This article studies the Baile o sainete del mercachifle, by Diego Molina, an entremés produced in the Audiencia de Quito, around 1750. This theatrical piece articulates the anxiety of the colonial elite regarding the access of subalternized groups—especially women of African descent—to objects that were considered exclusive to the ruling class, such as the textiles and luxury accessories in which the play's protagonist trades. The article highlights the socio-racial and gender tensions of colonial society as portrayed in the relationships between the main character and the female characters. The analysis of Molina's sainete reveals the urge of the eighteenth-century Enlightenment to control the apparent social disorder caused by sexual unions between people of different socio-racial status and by the transgressions that individuals considered to be of an inferior position were willing to commit in order to move up. This study highlights the complexities and paradoxes posed by interracial unions, the yearning of the colonial elite to move towards an ideal, predominantly White-Spanish society, and the efforts to define the identity of colonial subjects.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"56 1","pages":"23 - 42"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48369976","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":"Legom: Retrato de hombre caído","authors":"L. M. Moncada","doi":"10.1353/ltr.2022.0021","DOIUrl":"https://doi.org/10.1353/ltr.2022.0021","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"56 1","pages":"135 - 140"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48993373","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:Requiem#3: Body Graves (2019) is part of the Requiem project, a series of interventions in which Violeta Luna explores the representation of violence as a ritual and uses her body as a territory for political-social dialogue. This participatory performance draws attention to those who are buried in mass graves in Mexico and seeks to rescue their existence from oblivion, while questioning institutional impunity and involving the viewer in the search efforts. In a context in which the task of locating the remains of loved ones falls on civil society, the piece highlights how the disappeared and their families are victims of the ineffectiveness of the "narco-machine" that has become the Mexican State. Requiem#3 constitutes a performativity of disappearance, in which ritual, visual, and auditory aspects converge within a framework of necrotheatricality and transform the auditorium into a communitas. Music and sounds combine with body movements and acting objects to transform the stage into an altar that highlights the (un)burial of memory.
{"title":"Violeta Luna: Dramaturgia sonora y performatividad de la desaparición en Requiem#3","authors":"M. M. Sánchez","doi":"10.1353/ltr.2022.0015","DOIUrl":"https://doi.org/10.1353/ltr.2022.0015","url":null,"abstract":"Abstract:Requiem#3: Body Graves (2019) is part of the Requiem project, a series of interventions in which Violeta Luna explores the representation of violence as a ritual and uses her body as a territory for political-social dialogue. This participatory performance draws attention to those who are buried in mass graves in Mexico and seeks to rescue their existence from oblivion, while questioning institutional impunity and involving the viewer in the search efforts. In a context in which the task of locating the remains of loved ones falls on civil society, the piece highlights how the disappeared and their families are victims of the ineffectiveness of the \"narco-machine\" that has become the Mexican State. Requiem#3 constitutes a performativity of disappearance, in which ritual, visual, and auditory aspects converge within a framework of necrotheatricality and transform the auditorium into a communitas. Music and sounds combine with body movements and acting objects to transform the stage into an altar that highlights the (un)burial of memory.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"56 1","pages":"63 - 84"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47044033","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":"Dramaturgia Invisible: 30 años del Teatro Abya Yala by Roxana Ávila y David Korish (review)","authors":"G. Díaz","doi":"10.1353/ltr.2022.0025","DOIUrl":"https://doi.org/10.1353/ltr.2022.0025","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"56 1","pages":"146 - 148"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43760556","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}
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