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Colacerdo, puesta en escena de Cien años de soledad Colacerdo,上演《百年孤独
3区 艺术学 0 THEATER Pub Date : 2024-01-25 DOI: 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,
受加布里埃尔-加西亚-马尔克斯(Gabriel García Márquez)的大师级小说《Colacerdo》的启发,西班牙拉丁美洲文学研究协会(AEELH)于 2023 年 9 月在大加那利岛拉斯帕尔马斯举行了第十五届大会。本届大会于 2023 年 9 月在大加那利岛拉斯帕尔马斯举行,旨在重新审视拉丁美洲的繁荣。科拉塞尔多》由共和国剧院制作,其创始人伊格纳西奥-卡布雷拉(Ignacio Cabrera)担任编剧和导演,由托尼-巴埃斯(Toni Báez)、鲁文-桑切斯(Rubén Sánchez)和马努-希门尼斯(Manu Jiménez)演出。该剧于同年 5 月在佩雷斯-加尔多斯剧院成功首演,并在加那利群岛和伊比利亚半岛成功进行了一系列演出。在上述大会的前一次会议上,导演本人负责详细介绍了构思和上演这部小说的非凡冒险,这部小说引发了我们的叙事热潮,先是在大西洋的这一边--继南美出版社在阿根廷出版《Cien años de soledad》之后,后来又在欧洲--得益于卡门-巴尔塞勒斯(Carmen Balcells)出版机构的项目,即所谓的 "拉美热潮"。作为剧作家的导演面临的难题是,如何在最多几个小时的剧场演出中,将被困在梅尔基亚德斯手稿中一个世纪的永恒回归中的血脉浓缩在几百页的魔幻现实主义作品中,这是马孔多的另一种现实,类似于拉丁美洲家庭和人民的日常魔法。这一煞费苦心的工作的成果是一本严谨的编年指南,这一解决方案 [尾页 87] 点击放大 查看完整分辨率 点击放大 查看完整分辨率 [尾页 88] 让人想起在这部世界文学巨著的后续版本中附带布恩迪亚家族家谱图的策略。正如卡布雷拉解释的那样,《科拉塞多》由三个吉普赛人主演,他们在世界各地讲述他们的父母告诉他们的故事[......]这也是一种道歉,因为如果你讲述的是别人告诉你的故事,你总会留下很多东西。有些情节对某些人来说很重要,而对另一些人来说却不重要。这为我们开辟了一个巨大的领域,因为你无法将加西亚-马尔克斯的文学作品搬上舞台。 导演还解释说,以前演出该剧的舞台,尤其是首演的佩雷斯-加尔多斯剧院,与此次演出的吉尼瓜达大厅相比,面积非常大,而且原来由鲁文-桑切斯现场演奏的音乐不得不用录音音乐代替。作为与舞台对话的观众,根据我们的个人经验,并意识到每场演出都是独一无二和不可重复的--即使它完全遵循相同的剧本,并遵循相同的原始导演和演绎理念--我们,观众,尽情地欣赏了演出。基于布莱希特式的疏离资源,导演选择让演员托尼-佩雷斯(Toni Pérez)扮演叙述者的角色,他是全知全能的梅尔基亚德,是吉普赛人的典范,这样,他就可以从观众席和舞台(舞台上有移动的模块和物体,象征并强化了加西亚-马尔克斯的宇宙)之间的舞台上,讲述布恩迪亚虚构生活中的关键时刻,同时也是当今马孔多文学中依然存在的现实。马努-希门尼斯不善言辞,尽管沉默寡言,却异常雄辩,他负责唤起魔幻现实主义永不褪色的力量,这不仅是《百年孤独》的特质,也是加西亚-马尔克斯所有作品的特质,无论是电影还是戏剧....。
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引用次数: 0
Mexico City's Summer 2022 Theatre Season (review) 墨西哥城2022年夏季剧院季(回顾)
3区 艺术学 0 THEATER Pub Date : 2022-11-13 DOI: 10.1353/ltr.2022.0017
Timothy G. Compton
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引用次数: 0
Magín Robert: El hombre detrás del seudónimo 马丁·罗伯特:笔名背后的人
3区 艺术学 0 THEATER Pub Date : 2022-09-01 DOI: 10.1353/ltr.2022.0016
Julio Antonio Molinete
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.
摘要:匿名和假名的使用在不同时期、不同流派、不同国家和不同文学潮流的作家中反复出现。这种做法的原因从谦虚到偏见,从追求名声,甚至是一种简单的心血来潮。虽然一些假名很熟悉,也很可爱,比如费尔南多·佩索阿、弗吉尼亚·伍尔夫和巴勃罗·聂鲁达,但其他假名,比如古巴剧作家朱斯托·埃莱波罗,却消失在加勒比海和岛屿文学的史册中。这篇文章探讨了19世纪文学成本主义剧作家Eleboro的简短作品,他的戏剧作品谴责了殖民主义、种族主义、奴隶制和以阴茎为中心的性别角色管制。本文从历史学和政治分析相结合的跨学科视角,从发现埃莱波罗的真实身份——马金·罗伯特的那一刻起,阅读了他的戏剧。了解后者的政治和革命战斗力,对于将他的作品置于背景中并使其引人注目至关重要。
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引用次数: 0
Performance Activism: Precursors and Contemporary Pioneers by Dan Friedman (review) 《行为行动主义:先驱与当代先锋》丹·弗里德曼著(书评)
3区 艺术学 0 THEATER Pub Date : 2022-09-01 DOI: 10.1353/ltr.2022.0024
Mauricio Tafur Salgado
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引用次数: 0
In Memoriam: Olga Martha Peña Doria 回忆:奥尔加·马莎·佩尼亚·多里亚
3区 艺术学 0 THEATER Pub Date : 2022-09-01 DOI: 10.1353/ltr.2022.0020
Edith Ibarra
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引用次数: 0
Víctor Hugo Rascón Banda: Un dramaturgo en la memoria 维克多·雨果·拉斯康·班达:《记忆中的戏剧
3区 艺术学 0 THEATER Pub Date : 2022-09-01 DOI: 10.1353/ltr.2022.0022
E. Franco
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引用次数: 0
Vestimenta, raza y calidad en el Baile o sainete del mercachifle de Diego Molina 迭戈·莫利纳的《O Sainete del Mercachifle》舞蹈中的服装、种族和质量
3区 艺术学 0 THEATER Pub Date : 2022-09-01 DOI: 10.1353/ltr.2022.0013
Estefanía Flores Ortiz
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。
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引用次数: 0
Legom: Retrato de hombre caído 《堕落男人的肖像》
3区 艺术学 0 THEATER Pub Date : 2022-09-01 DOI: 10.1353/ltr.2022.0021
L. M. Moncada
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引用次数: 0
Violeta Luna: Dramaturgia sonora y performatividad de la desaparición en Requiem#3 Violeta Luna:安魂曲3中消失的声音戏剧和表演
3区 艺术学 0 THEATER Pub Date : 2022-09-01 DOI: 10.1353/ltr.2022.0015
M. M. Sánchez
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.
摘要:《安魂曲#3:身体坟墓》(2019)是安魂曲项目的一部分,该项目是一系列干预措施的一部分,其中Violeta Luna探索了暴力作为仪式的表现,并将她的身体作为政治-社会对话的领域。这个参与性的表演将人们的注意力吸引到那些被埋葬在墨西哥的乱葬坑里的人身上,并试图从遗忘中拯救他们的存在,同时质疑制度上的有罪不罚,并让观众参与到搜寻工作中来。在寻找亲人遗体的任务落在民间社会的背景下,这篇文章突出了失踪者及其家属如何成为已成为墨西哥国家的“毒品机器”无效的受害者。安魂曲#3构成了一种消失的表演,其中仪式,视觉和听觉方面在necrotheatricality的框架内融合,并将礼堂转变为社区。音乐和声音与肢体动作和表演对象相结合,将舞台变成一个祭坛,突出了记忆的(非)埋葬。
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引用次数: 0
Dramaturgia Invisible: 30 años del Teatro Abya Yala by Roxana Ávila y David Korish (review) 《看不见的戏剧:阿比亚亚拉剧院30年》,罗克珊娜avila和大卫·科瑞什著
3区 艺术学 0 THEATER Pub Date : 2022-09-01 DOI: 10.1353/ltr.2022.0025
G. Díaz
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引用次数: 0
期刊
LATIN AMERICAN THEATRE REVIEW
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