Abstract:One of the most relevant plays in the history of Argentine theatre is Juan Moreira, first premiered by Hermanos Podestá in 1884. This study explores the reasons for the canonization of the play, considered to be at the core of the origins of Argentinian theatre and the national idea of theatre, taking into account both the text and its performance and, at the same time, the legacy of this play throughout the twentieth century. The author also analyzes a parodic version of the play, Hoy se comen al flaco, in which the Argentinian playwright Osvaldo Dragún rewrites Juan Moreira to reflect on the theatrical tradition and the sociopolitical situation of Argentina. Hoy se comen al flaco, written in 1977, premiered as part of Teatro Abierto in 1983. Thus, its creation and staging took place during one of the most repressive times in the history of Argentina, the last military dictatorship, the so-called Proceso de Reorganización Nacional (1976–1983). This article discusses Dragún’s proposal within this context as well as the reasons that led this playwright to return to the mythical Argentine gaucho and to the circo criollo as a space for expression and popular encounter.
{"title":"Entre Juan Moreira y Osvaldo Dragún: mito, parodia y teatro popular","authors":"Alba Saura Clares","doi":"10.1353/ltr.2022.0004","DOIUrl":"https://doi.org/10.1353/ltr.2022.0004","url":null,"abstract":"Abstract:One of the most relevant plays in the history of Argentine theatre is Juan Moreira, first premiered by Hermanos Podestá in 1884. This study explores the reasons for the canonization of the play, considered to be at the core of the origins of Argentinian theatre and the national idea of theatre, taking into account both the text and its performance and, at the same time, the legacy of this play throughout the twentieth century. The author also analyzes a parodic version of the play, Hoy se comen al flaco, in which the Argentinian playwright Osvaldo Dragún rewrites Juan Moreira to reflect on the theatrical tradition and the sociopolitical situation of Argentina. Hoy se comen al flaco, written in 1977, premiered as part of Teatro Abierto in 1983. Thus, its creation and staging took place during one of the most repressive times in the history of Argentina, the last military dictatorship, the so-called Proceso de Reorganización Nacional (1976–1983). This article discusses Dragún’s proposal within this context as well as the reasons that led this playwright to return to the mythical Argentine gaucho and to the circo criollo as a space for expression and popular encounter.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42458267","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":"La nueva dramaturgia puertorriqueña. Trans/acciones de la identidad by Laurietz Seda (review)","authors":"L. Acosta","doi":"10.1353/ltr.2022.0007","DOIUrl":"https://doi.org/10.1353/ltr.2022.0007","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43157547","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:In this article, I analyze one-actor plays, Adiós Ayacucho (1990) and Rosa Cuchillo (2002), written and performed by the collective Grupo Cultural Yuyachkani. I propose that in both plays non-human elements in collaboration with the human bodies on stage develop a memory-healing process to overcome the trauma produced by the Internal Conflict that occurred in Peru from 1980 to 2000. Both pieces present the story of a dead body that returns to the living world in order to accomplish a mission. In Adiós Ayacucho, Alfonso Canepa returns to find and recover his missing corpse, while, in Rosa Cuchillo, Rosa is looking for her missing son. However, these missions cannot be accomplished without the intervention of non-human elements that work in collaboration with the play’s protagonists. This article examines the role of space as a sum of non-human elements that intervene in the processes of memory in dialogue with the notion of yanantin, which, in Andean cosmology, denotes an equilibrium between dualisms that maintains the order and existence of all human and nonhuman life. Further influencing my reflections on the presence of the nonhuman in these performances, I consider Jane Bennett’s notion of actant and Tara Daly’s concept of Andean plurality. My analysis of these spaces offers a new perspective on Peruvian politics and theatre by privileging Andean forms of knowledges as a way to decolonize and understand memory and history.
摘要：在本文中，我分析了由Grupo Cultural Yuyachkani集体创作和表演的一部演员剧，Adiós Ayacucho（1990）和Rosa Cuchillo（2002）。我建议，在这两部剧中，非人类元素与舞台上的人体合作，发展一个记忆愈合过程，以克服1980年至2000年秘鲁发生的内部冲突所造成的创伤。这两部作品都讲述了一具尸体为了完成一项任务而回到生活世界的故事。在Adiós Ayacucho，Alfonso Canepa回来寻找并找回他失踪的尸体，而在Rosa Cuchillo，Rosa正在寻找她失踪的儿子。然而，如果没有与剧中主角合作的非人类元素的干预，这些任务就无法完成。这篇文章探讨了空间作为一种非人类元素的总和的作用，这些非人类元素与亚南丁的概念进行了对话，亚南丁在安第斯宇宙学中表示维持所有人类和非人类生命的秩序和存在的二元性之间的平衡。我进一步影响了我对这些表演中非人类存在的思考，我认为简·贝内特的行为体概念和塔拉·戴利的安第斯多元性概念。我对这些空间的分析为秘鲁政治和戏剧提供了一个新的视角，将安第斯形式的知识作为一种非殖民化和理解记忆和历史的方式。
{"title":"Post-materialidad en los Andes: espacios performativos andinos en Yuyachkani","authors":"Pedro de Jesús Gonzales Durán","doi":"10.1353/ltr.2022.0001","DOIUrl":"https://doi.org/10.1353/ltr.2022.0001","url":null,"abstract":"Abstract:In this article, I analyze one-actor plays, Adiós Ayacucho (1990) and Rosa Cuchillo (2002), written and performed by the collective Grupo Cultural Yuyachkani. I propose that in both plays non-human elements in collaboration with the human bodies on stage develop a memory-healing process to overcome the trauma produced by the Internal Conflict that occurred in Peru from 1980 to 2000. Both pieces present the story of a dead body that returns to the living world in order to accomplish a mission. In Adiós Ayacucho, Alfonso Canepa returns to find and recover his missing corpse, while, in Rosa Cuchillo, Rosa is looking for her missing son. However, these missions cannot be accomplished without the intervention of non-human elements that work in collaboration with the play’s protagonists. This article examines the role of space as a sum of non-human elements that intervene in the processes of memory in dialogue with the notion of yanantin, which, in Andean cosmology, denotes an equilibrium between dualisms that maintains the order and existence of all human and nonhuman life. Further influencing my reflections on the presence of the nonhuman in these performances, I consider Jane Bennett’s notion of actant and Tara Daly’s concept of Andean plurality. My analysis of these spaces offers a new perspective on Peruvian politics and theatre by privileging Andean forms of knowledges as a way to decolonize and understand memory and history.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42673284","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:Maids have been an important source of inspiration for the Latin American lettered elite, who havecrafted these characters not only to promote negative stereotypes about working women (often associating them with theft, dirt, prostitution, or treason), but alsotospeakabout the popular classes from the point of view of the so-called intellectuals. This article studies Las arpías (1981), Colombian José Manuel Freidel’s adaptation of Jean Genet’s The Maids, exploring his deliberate use of the maidas a rhetorical device. WhileFreidel’s versionconstructs aworking-classcharacter often associated with a type of theatre that promotes social critique, it is still part of abody of dramatic workthat ultimately dehumanizes working women. I examine Las arpías as a critique of the cultural tradition that seizes the voice of the “people” and argue thatthis work allows us to rethink Diana Taylor’s concept of “theater of crisis” to decolonize the ways of representing members of marginalized communities.
{"title":"Matar a la patrona: mucamas en crisis y crisis de representación en Las arpías de José Manuel Freidel","authors":"Marcelo Carosi","doi":"10.1353/ltr.2022.0000","DOIUrl":"https://doi.org/10.1353/ltr.2022.0000","url":null,"abstract":"Abstract:Maids have been an important source of inspiration for the Latin American lettered elite, who havecrafted these characters not only to promote negative stereotypes about working women (often associating them with theft, dirt, prostitution, or treason), but alsotospeakabout the popular classes from the point of view of the so-called intellectuals. This article studies Las arpías (1981), Colombian José Manuel Freidel’s adaptation of Jean Genet’s The Maids, exploring his deliberate use of the maidas a rhetorical device. WhileFreidel’s versionconstructs aworking-classcharacter often associated with a type of theatre that promotes social critique, it is still part of abody of dramatic workthat ultimately dehumanizes working women. I examine Las arpías as a critique of the cultural tradition that seizes the voice of the “people” and argue thatthis work allows us to rethink Diana Taylor’s concept of “theater of crisis” to decolonize the ways of representing members of marginalized communities.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49586334","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":"Afiches de teatro. Trayectoria y recorrido visual del Teatro de la Pontificia Universidad Católica de Chile by Patricio Rodríguez-Plaza (review)","authors":"J. Villegas","doi":"10.1353/ltr.2022.0008","DOIUrl":"https://doi.org/10.1353/ltr.2022.0008","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47255228","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 essay analyzes Mapa Teatro’s rewritings of Greek myth in Colombia: Orestea Ex Machina (1995), based on the story of the House of Atreus, and C’úndua (2001–2005), on Prometheus. Orestea combines Aeschylus’s tragedy with the country’s violent policies. In the C’úndua cycle, the myth of the philanthropic titan fuses with the stories of the inhabitants of El Cartucho, a neighborhood that was demolished in the name of urban “renewal” in the center of Bogotá. Both rewritings are based on a radical deconstruction of Greek tragedy and marked by the presence of reality and the connection with politics. In their reinterpretation of myth, Mapa Teatro draws freely from the dramaturgy of Heiner Müller and his transgressive aesthetic of fragmentation. Intertwining Greek myth with the tragedy of the present, Mapa Teatro enacts the social and political trauma caused by the propagation of violence in the context of Colombia. With an interdisciplinary theatrical perspective, this study poses intersecting theories on performance, anthropology, politics, and trauma studies.
摘要:本文分析了哥伦比亚马帕剧院(Mapa Teatro)对希腊神话的改写:以阿特鲁斯之家为原型的《Orestea Ex Machina》(1995)和以普罗米修斯为原型的《C ' úndua》(2001-2005)。奥瑞斯提亚将埃斯库罗斯的悲剧与国家的暴力政策结合在一起。在C ' úndua循环中，慈善巨头的神话与El Cartucho居民的故事融合在一起，El Cartucho是波哥大中心以城市“更新”的名义被拆除的社区。这两种重写都是基于对希腊悲剧的激进解构，并以现实的存在和与政治的联系为标志。在他们对神话的重新诠释中，马帕剧团自由地借鉴了海纳·米勒的戏剧手法和他的越界的碎片美学。马帕剧院将希腊神话与当前的悲剧交织在一起，演绎了哥伦比亚背景下暴力传播所造成的社会和政治创伤。本研究以跨学科的戏剧视角，提出了表演、人类学、政治学和创伤研究的交叉理论。
{"title":"Montaje y desmontaje del mito griego en Mapa Teatro: entretejiendo trauma, historia y política en Colombia","authors":"Daniela Palmeri","doi":"10.1353/ltr.2022.0002","DOIUrl":"https://doi.org/10.1353/ltr.2022.0002","url":null,"abstract":"Abstract:This essay analyzes Mapa Teatro’s rewritings of Greek myth in Colombia: Orestea Ex Machina (1995), based on the story of the House of Atreus, and C’úndua (2001–2005), on Prometheus. Orestea combines Aeschylus’s tragedy with the country’s violent policies. In the C’úndua cycle, the myth of the philanthropic titan fuses with the stories of the inhabitants of El Cartucho, a neighborhood that was demolished in the name of urban “renewal” in the center of Bogotá. Both rewritings are based on a radical deconstruction of Greek tragedy and marked by the presence of reality and the connection with politics. In their reinterpretation of myth, Mapa Teatro draws freely from the dramaturgy of Heiner Müller and his transgressive aesthetic of fragmentation. Intertwining Greek myth with the tragedy of the present, Mapa Teatro enacts the social and political trauma caused by the propagation of violence in the context of Colombia. With an interdisciplinary theatrical perspective, this study poses intersecting theories on performance, anthropology, politics, and trauma studies.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42494393","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":"¡Presente! The Politics of Presence by Diana Taylor (review)","authors":"Claire Pamment","doi":"10.1353/ltr.2022.0009","DOIUrl":"https://doi.org/10.1353/ltr.2022.0009","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49285411","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:American blackface minstrels began to perform for local audiences in Buenos Aires between 1868 and 1873, beginning with Albert Phillips and followed by two different companies of Christy's Minstrels. This article describes the performances that they presented—the songs, dances and sketches, melodies and rhythms, instruments, and costumes—and their reception by porteño audiences. It also considers their legacy in local theatrical traditions and considers possible connections between local and translational forms of blackface. It is often assumed that the dozens of carnival ensembles of "fake blacks" that paraded in Buenos Aires after 1865 were inspired by American minstrelsy. This article shows that there is actually no evidence of such influence and proposes that local carnival customs may have found inspiration in other transnational groups such as the Spanish zarzuela companies that visited the city from the mid-19th century onwards.
{"title":"Blackface minstrelsy en Buenos Aires: Las actuaciones de Albert Phillips en 1868 y las visitas de los Christy's Minstrels en 1869, 1871 y 1873 (y una discusión sobre su impacto en la cultura local)","authors":"Ezequiel Adamovsky","doi":"10.1353/ltr.2021.0027","DOIUrl":"https://doi.org/10.1353/ltr.2021.0027","url":null,"abstract":"Abstract:American blackface minstrels began to perform for local audiences in Buenos Aires between 1868 and 1873, beginning with Albert Phillips and followed by two different companies of Christy's Minstrels. This article describes the performances that they presented—the songs, dances and sketches, melodies and rhythms, instruments, and costumes—and their reception by porteño audiences. It also considers their legacy in local theatrical traditions and considers possible connections between local and translational forms of blackface. It is often assumed that the dozens of carnival ensembles of \"fake blacks\" that paraded in Buenos Aires after 1865 were inspired by American minstrelsy. This article shows that there is actually no evidence of such influence and proposes that local carnival customs may have found inspiration in other transnational groups such as the Spanish zarzuela companies that visited the city from the mid-19th century onwards.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46349693","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":"Entrevista a Novohispunk Teatro: Desde la distancia social hasta tu propio balcón","authors":"E. Cowling, Glenda Y. Nieto-Cuebas","doi":"10.1353/ltr.2021.0021","DOIUrl":"https://doi.org/10.1353/ltr.2021.0021","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43750334","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 examines the representation of enslaved men and women in mid-nineteenth-century Brazilian theatre. It focuses on and analyzes O demônio familiar (1857) and Mãe (1860) by José Martiniano de Alencar in the context of the foundation of the Conservatório Dramático Brasileiro in Rio de Janeiro, whose objective was to read, evaluate, and authorize plays for staging. I suggest that the spectacular representations of enslaved people should be interpreted as controlled and ritualized enunciations that, before reaching the public, had the approval of a group of journalists and writers who had the power to authorize, request modifications, or prohibit the performance. As spaces for confrontation and debate, theaters provided the forum in which Brazilians rehearsed new dynamics of social relations while grappling with questions regarding the role of Afro-descendants in a modern nation.
摘要：本文考察了19世纪中期巴西戏剧中被奴役的男女形象。它在里约热内卢巴西音乐学院成立的背景下，重点分析了若泽·马蒂诺·德·阿伦卡尔（JoséMartiniano de Alencar）的《熟悉的O demônio》（1857年）和《Mãe》（1860年），该学院的目标是阅读、评估和授权戏剧上演。我建议，被奴役者的壮观表现应该被解释为受控和仪式化的表达，在向公众传播之前，这些表达得到了一群记者和作家的批准，他们有权授权、要求修改或禁止表演。作为对抗和辩论的空间，剧院提供了一个论坛，巴西人在这里排练社会关系的新动态，同时努力解决有关非洲后裔在现代国家中的作用的问题。
{"title":"Entre espectacularización y censura: Subjetividades negras en el teatro brasileño de mediados del siglo XIX","authors":"María Alejandra Aguilar Dornelles","doi":"10.1353/ltr.2021.0028","DOIUrl":"https://doi.org/10.1353/ltr.2021.0028","url":null,"abstract":"Abstract:This article examines the representation of enslaved men and women in mid-nineteenth-century Brazilian theatre. It focuses on and analyzes O demônio familiar (1857) and Mãe (1860) by José Martiniano de Alencar in the context of the foundation of the Conservatório Dramático Brasileiro in Rio de Janeiro, whose objective was to read, evaluate, and authorize plays for staging. I suggest that the spectacular representations of enslaved people should be interpreted as controlled and ritualized enunciations that, before reaching the public, had the approval of a group of journalists and writers who had the power to authorize, request modifications, or prohibit the performance. As spaces for confrontation and debate, theaters provided the forum in which Brazilians rehearsed new dynamics of social relations while grappling with questions regarding the role of Afro-descendants in a modern nation.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41389724","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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