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":"55 1","pages":"27 - 52"},"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}
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":"55 1","pages":"53 - 76"},"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}
{"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":"55 1","pages":"179 - 181"},"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: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":"55 1","pages":"133 - 154"},"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":"55 1","pages":"184 - 185"},"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":"55 1","pages":"182 - 184"},"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":"55 1","pages":"102 - 77"},"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":"55 1","pages":"181 - 182"},"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":"55 1","pages":"169 - 178"},"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":"54 1","pages":"71 - 95"},"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}
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：