Abstract:During the 1980s, a number of Latinx and Black dance groups emerged from high schools on the Near Northwest Side of Chicago. Contemporaneous with the Chicago House Music phenomenon that began in Southside clubs like the Warehouse, LGBTQ dance groups such as The Culitos, The All Stars, and Imported Taste choreographed routines and competed in dance battles to the driving beat of house, disco, R&B, and European techno. This article examines the Urban Theater Company's 2019 performance of Back in the Day: An 80s House Music Danceicle. The choreography in this site-specific, immersive play conveys a kinesthetic empathy that engages the audience members in a reflective nostalgia of an era and a community that has up until now been absent from the Latinx artistic and performance archive. By contrasting stillness with movement and creating an immersive theatrical experience, the dance musical production positions the nostalgic audience in a critical space where memory is performed as an embodied phenomenology, wherein an unwritten history of love and loss is articulated through rhythm and dance.
摘要：在20世纪80年代，芝加哥西北部的高中出现了许多拉丁裔和黑人舞蹈团。与始于Warehouse等南区俱乐部的芝加哥豪斯音乐现象同时，the Culitos、the All Stars和Imported Taste等LGBTQ舞蹈团体编排了舞蹈套路，并随着豪斯、迪斯科、R&B和欧洲技术的节奏进行了激烈的舞蹈对抗。这篇文章考察了城市剧院公司2019年的演出《回到过去：80年代的家庭音乐舞曲》。这部特定地点、身临其境的戏剧中的编舞传达了一种动人心弦的同理心，让观众沉浸在对一个时代和一个社区的反思性怀旧中，而这个时代和社区迄今为止还没有出现在拉丁裔艺术和表演档案中。通过将静止与运动进行对比，并创造一种身临其境的戏剧体验，舞蹈音乐作品将怀旧的观众定位在一个关键的空间中，在这个空间中，记忆被表现为一种具体的现象学，在那里，爱和失去的不成文历史通过节奏和舞蹈来表达。
{"title":"Memory in Motion: UrbanTheater Company's Back in the Day and the Chicago Latinx Dance Crews of the 1980s","authors":"Israel Reyes","doi":"10.1353/ltr.2021.0019","DOIUrl":"https://doi.org/10.1353/ltr.2021.0019","url":null,"abstract":"Abstract:During the 1980s, a number of Latinx and Black dance groups emerged from high schools on the Near Northwest Side of Chicago. Contemporaneous with the Chicago House Music phenomenon that began in Southside clubs like the Warehouse, LGBTQ dance groups such as The Culitos, The All Stars, and Imported Taste choreographed routines and competed in dance battles to the driving beat of house, disco, R&B, and European techno. This article examines the Urban Theater Company's 2019 performance of Back in the Day: An 80s House Music Danceicle. The choreography in this site-specific, immersive play conveys a kinesthetic empathy that engages the audience members in a reflective nostalgia of an era and a community that has up until now been absent from the Latinx artistic and performance archive. By contrasting stillness with movement and creating an immersive theatrical experience, the dance musical production positions the nostalgic audience in a critical space where memory is performed as an embodied phenomenology, wherein an unwritten history of love and loss is articulated through rhythm and dance.","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":"41454913","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":"After the Long Silence: The Theater of Brazil's Post-Dictatorship Generation by Cláudia Tatinge Nascimento (review)","authors":"Steven F. E Butterman","doi":"10.1353/ltr.2021.0026","DOIUrl":"https://doi.org/10.1353/ltr.2021.0026","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":"47261432","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:During the 40s, puppet theatre began to have an increasingly stable and visible presence in the artistic culture of Buenos Aires as a result of the work of puppeteers who in different ways modernized and legitimized puppet theatre as a theatrical form. Changes in the conception of childhood during the first part of the 20th century influenced the path taken by these artists. Children became productors and creators as well as consumers to whom it was necessary to offer quality products geared to their age. One of the artists who collaborated in this modernization process was Juan Enrique Acuña. His first two productions, "Títeres del Verdegay" and "Titiritaina," linked to traditional forms of puppetry, constitute a prelude during which Acuña established the lines that would characterize his later projects, including dramaturgical and technical innovations. We review the elements aligned with those traditional puppets and at the same time emphasize Acuña's innovations and his reflections on these projects as a first step in the construction of modern puppet theatre.
摘要:20世纪40年代，木偶剧开始在布宜诺斯艾利斯的艺术文化中有越来越稳定和明显的存在，这是木偶演员以不同方式使木偶剧现代化和合法化的结果。20世纪上半叶儿童观念的变化影响了这些艺术家所走的道路。儿童成为生产者和创造者以及消费者，有必要向他们提供适合他们年龄的优质产品。在这个现代化进程中合作的艺术家之一是胡安·恩里克Acuña。他的前两部作品，“Títeres del Verdegay”和“Titiritaina”，与传统形式的木偶戏有关，构成了一个前奏，在此期间Acuña建立了他后来项目的特征，包括戏剧和技术创新。我们回顾了与这些传统木偶相一致的元素，同时强调Acuña的创新和他对这些项目的反思，作为构建现代木偶剧的第一步。
{"title":"Antesala de un teatro de títeres moderno: Juan Enrique Acuña al frente de los \"Títeres del Verdegay\" y \"Titiritaina\" (1944-1960)","authors":"B. Girotti","doi":"10.1353/ltr.2021.0029","DOIUrl":"https://doi.org/10.1353/ltr.2021.0029","url":null,"abstract":"Abstract:During the 40s, puppet theatre began to have an increasingly stable and visible presence in the artistic culture of Buenos Aires as a result of the work of puppeteers who in different ways modernized and legitimized puppet theatre as a theatrical form. Changes in the conception of childhood during the first part of the 20th century influenced the path taken by these artists. Children became productors and creators as well as consumers to whom it was necessary to offer quality products geared to their age. One of the artists who collaborated in this modernization process was Juan Enrique Acuña. His first two productions, \"Títeres del Verdegay\" and \"Titiritaina,\" linked to traditional forms of puppetry, constitute a prelude during which Acuña established the lines that would characterize his later projects, including dramaturgical and technical innovations. We review the elements aligned with those traditional puppets and at the same time emphasize Acuña's innovations and his reflections on these projects as a first step in the construction of modern puppet theatre.","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":"47118401","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 aim of this essay is to give a broad view of theatre in San Miguel de Tucumán, the sixth most populated city and one of the most important centers of artistic education and theatre production in Argentina. Given its university and vigorous independent activity, San Miguel de Tucumán holds a relevant position in the northwestern region and hosts tens of theatre students every year. The article explores different theatre spaces and their relationship with urban spaces and then analyzes four of the city's production circuits. Finally, it examines how theatre education is conducted in Tucumán through two channels of study: the university and independent ateliers.
{"title":"El teatro de San Miguel de Tucumán: Salas, circuitos de producción e instancias de formación","authors":"Pablo Salas Tonello","doi":"10.1353/ltr.2021.0020","DOIUrl":"https://doi.org/10.1353/ltr.2021.0020","url":null,"abstract":"Abstract:The aim of this essay is to give a broad view of theatre in San Miguel de Tucumán, the sixth most populated city and one of the most important centers of artistic education and theatre production in Argentina. Given its university and vigorous independent activity, San Miguel de Tucumán holds a relevant position in the northwestern region and hosts tens of theatre students every year. The article explores different theatre spaces and their relationship with urban spaces and then analyzes four of the city's production circuits. Finally, it examines how theatre education is conducted in Tucumán through two channels of study: the university and independent ateliers.","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":"47261270","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":"Staging Lives in Latin American Theater: Bodies, Objects, Archives by Paola S. Hernández (review)","authors":"G. Bulman","doi":"10.1353/ltr.2021.0024","DOIUrl":"https://doi.org/10.1353/ltr.2021.0024","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":"41459127","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":"The Sense of Brown by José Esteban Muñoz (review)","authors":"Gerónimo Sarmiento Cruz","doi":"10.1353/ltr.2021.0025","DOIUrl":"https://doi.org/10.1353/ltr.2021.0025","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":"42702532","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:Many theatre scholars and artists regard the birth of university theatres in Chile during the 1940s as the founding act of modern Chilean theatre and performance. University drama schools produced a new type of actor/actress, often described as "dramatic" or "cultured," as opposed to another kind of performer known as "national." Dramatic actors religiously followed their lines and subordinated their work to the author's ideas, mastered a foreign declamatory style, and performed for an educated middle class. National actors, more focused on improvisation, drew their inspiration from the circus and other physical acting traditions. In this essay, we suggest that the difference between these two types of actors is actually more subtle. Indeed, many acting techniques commonly associated with "national" performers still existed during the 1960s and onwards and had an impact on "cultured" performers. Moreover, our research challenges a wide-spread myth according to which the great stars and divas from the golden age of Chilean theatre were intuitive "stage animals" who lacked any organized acting technique.
{"title":"Animales pancrónicos del teatro: Notas sobre la persistencia de técnicas actorales previas en el teatro universitario chileno (1910-1962)","authors":"Andréa Pelegrí Kristic, A. Isla","doi":"10.1353/ltr.2021.0030","DOIUrl":"https://doi.org/10.1353/ltr.2021.0030","url":null,"abstract":"Abstract:Many theatre scholars and artists regard the birth of university theatres in Chile during the 1940s as the founding act of modern Chilean theatre and performance. University drama schools produced a new type of actor/actress, often described as \"dramatic\" or \"cultured,\" as opposed to another kind of performer known as \"national.\" Dramatic actors religiously followed their lines and subordinated their work to the author's ideas, mastered a foreign declamatory style, and performed for an educated middle class. National actors, more focused on improvisation, drew their inspiration from the circus and other physical acting traditions. In this essay, we suggest that the difference between these two types of actors is actually more subtle. Indeed, many acting techniques commonly associated with \"national\" performers still existed during the 1960s and onwards and had an impact on \"cultured\" performers. Moreover, our research challenges a wide-spread myth according to which the great stars and divas from the golden age of Chilean theatre were intuitive \"stage animals\" who lacked any organized acting technique.","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":"48477596","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":"Drama y narración. Teatro clásico y actual en español by José-Luis García Barrientos (review)","authors":"Elvira Popova","doi":"10.1353/ltr.2021.0023","DOIUrl":"https://doi.org/10.1353/ltr.2021.0023","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":"45279281","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":"Teatro Línea de Sombra durante la pandemia: Entrevista con Alicia Laguna y Jorge A. Vargas","authors":"A. Martínez","doi":"10.1353/ltr.2021.0022","DOIUrl":"https://doi.org/10.1353/ltr.2021.0022","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":"43217739","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:During the last five years, new creations by Mapuche artists with a clear political imprint have renewed Chile’s national artistic scene. Among these works are Malen by choreographer Ricardo Curaqueo Curiche, premiered in October 2017, and Trewa. Estado-Nación o espectro de la traición by playwright Paula González Seguel, premiered in March 2019. Both creators construct universes and stories that explicitly expose the violence to which the Mapuche have been subjected. Although each piece pertains to a different genre—contemporary dance and documentary theater—they share common elements: gender violence in the Wallmapu, the murder of members of the Mapuche community, the absence of investigation, and the lack of justice. This article reflects on Mapuche authorship in the context of the national art scene, understanding their works as an exercise of activist art capable of staging the cultural, social, and political demands of the Mapuche people. The concept of “bodies without mourning” suggested by Ileana Diéguez leads to a rethinking of the role of art and its creators in contexts marked by violence and the disappearance of marginalized collectivities in Latin America.
摘要:在过去的五年中，带有明显政治印记的马普切艺术家的新创作使智利的国家艺术界焕然一新。这些作品包括编舞家里卡多·库拉克奥·库里切于2017年10月首演的《马伦》和《特雷瓦》。Estado-Nación o espectro de la traición剧作家Paula González Seguel, 2019年3月首演。两位创造者都构建了宇宙和故事，明确地揭示了马普切人所遭受的暴力。虽然每一部作品都属于不同的类型——现代舞和纪实戏剧——但它们都有共同的元素:瓦尔马普的性别暴力、马普切社区成员被谋杀、缺乏调查和缺乏正义。这篇文章在国家艺术场景的背景下反思马普切人的创作，将他们的作品理解为一种能够展现马普切人的文化、社会和政治要求的积极主义艺术。Ileana diacimuez提出的“没有哀悼的身体”概念引发了对艺术及其创作者在拉丁美洲以暴力和边缘化集体消失为标志的背景下的角色的重新思考。
{"title":"La escenificación de la violencia estatal en dos obras mapuche recientes: Malen de Ricardo Curaqueo y Trewa. Estado-Nación o espectro de la traición de Paula González","authors":"Ignacia Cortés Rojas, Ignacio Pastén","doi":"10.1353/LTR.2021.0003","DOIUrl":"https://doi.org/10.1353/LTR.2021.0003","url":null,"abstract":"Abstract:During the last five years, new creations by Mapuche artists with a clear political imprint have renewed Chile’s national artistic scene. Among these works are Malen by choreographer Ricardo Curaqueo Curiche, premiered in October 2017, and Trewa. Estado-Nación o espectro de la traición by playwright Paula González Seguel, premiered in March 2019. Both creators construct universes and stories that explicitly expose the violence to which the Mapuche have been subjected. Although each piece pertains to a different genre—contemporary dance and documentary theater—they share common elements: gender violence in the Wallmapu, the murder of members of the Mapuche community, the absence of investigation, and the lack of justice. This article reflects on Mapuche authorship in the context of the national art scene, understanding their works as an exercise of activist art capable of staging the cultural, social, and political demands of the Mapuche people. The concept of “bodies without mourning” suggested by Ileana Diéguez leads to a rethinking of the role of art and its creators in contexts marked by violence and the disappearance of marginalized collectivities in Latin America.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LTR.2021.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43415717","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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