{"title":"Insignificantes en diálogo con el público. El teatro de la generación Fonca by Daniel Vázquez Touriño (review)","authors":"Elvira Popova","doi":"10.1353/LTR.2021.0016","DOIUrl":"https://doi.org/10.1353/LTR.2021.0016","url":null,"abstract":"","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.2021.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48259700","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 memoria de la dictadura reciente en el teatro uruguayo: Una entrevista con Raquel Diana","authors":"Karunika Kardak, Juan José Mosquera Ramallo","doi":"10.1353/LTR.2021.0012","DOIUrl":"https://doi.org/10.1353/LTR.2021.0012","url":null,"abstract":"","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.2021.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42058227","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 interwar period, Buenos Aires established itself as a Jewish city of international cultural relevance. In the 1930s in particular, a rich Yiddish theatre circuit was developed and supported by the city’s large population of Yiddish-speaking Jews. Buenos Aires soon became a privileged destination in the tours of itinerant Jewish artists and a theatrical center that attracted a large number of Jewish actors and directors seeking to settle on the American continent. This article focuses on the aesthetic conceptions that Jewish artists brought to Argentina and argues that Yiddish theatre served as a modernizing force that deeply influenced the larger theatre scene of Buenos Aires. With its itinerant nature and genuinely international language, Yiddish theatre brought modern ideas, avant-garde aesthetics, and new repertoires.
{"title":"El teatro judío como corriente modernizadora: la escena ídish y su influencia en el campo teatral de Buenos Aires","authors":"Paula Ansaldo","doi":"10.1353/LTR.2021.0000","DOIUrl":"https://doi.org/10.1353/LTR.2021.0000","url":null,"abstract":"Abstract:During the interwar period, Buenos Aires established itself as a Jewish city of international cultural relevance. In the 1930s in particular, a rich Yiddish theatre circuit was developed and supported by the city’s large population of Yiddish-speaking Jews. Buenos Aires soon became a privileged destination in the tours of itinerant Jewish artists and a theatrical center that attracted a large number of Jewish actors and directors seeking to settle on the American continent. This article focuses on the aesthetic conceptions that Jewish artists brought to Argentina and argues that Yiddish theatre served as a modernizing force that deeply influenced the larger theatre scene of Buenos Aires. With its itinerant nature and genuinely international language, Yiddish theatre brought modern ideas, avant-garde aesthetics, and new repertoires.","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.2021.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47654426","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:Early twentieth-century nativist dramaturgy explored Conservative Argentina’s dreams of racial purity and “peace and administration” in the context of transatlantic migratory flows and major changes in the urban design of Buenos Aires. Nativism aimed at identifying and preserving ways of being criollo by turning to the Pampas as an idyllic space of agglutination of national values, particularly in the figure of the gaucho. But nativist drama not only grounded its ethics on principles of moral conduct but also functioned as a space for the distribution and popularization of the latest expert knowledges imported from Europe, mainly degeneration theory. This article explores a series of dramatic texts that staged the lives of the extremely impoverished, criminalized, and destitute, whom a series of scientific and literary works, ranging from criminology to psychiatry and philology, called lunfardos. Trash pickers, sex workers, unwanted immigrants, petty criminals, beggars, and marginalized children composed a living tapestry that illustrated the conditions of homeless life and its successive displacements and migrations. Enrique de Vedia’s Transfusión (1914)—a novel written almost entirely in dialogue form—and the plays En el barrio de las ranas (1910) by Enrique García Velloso, ¡Al campo! (1902) by Nicolás Granada, and Yerba Mala (1908) by José Eneas Riú warned of the endangered biological futures of healthy sectors of the population. Before the emergence in the political field of figures of deviance, drama culture put on a show to suggest that Argentine society needed to be defended against the abnormal. Animated by dreams of social prophylaxis, these fictions suggested that deviant forms of life were disassociated from progress.
摘要：20世纪初的本土主义戏剧探讨了保守派阿根廷在跨大西洋移民潮和布宜诺斯艾利斯城市设计重大变化的背景下对种族纯洁和“和平与管理”的梦想。本土主义旨在通过将潘帕斯视为一个凝聚民族价值观的田园诗般的空间，特别是在高乔的形象中，来识别和保留克里奥洛的方式。但本土主义戏剧不仅以道德行为原则为其伦理基础，而且还为从欧洲引进的最新专家知识（主要是退化理论）的传播和普及提供了空间。本文探讨了一系列戏剧性的文本，这些文本讲述了极端贫困、被定罪和赤贫的人的生活，一系列科学和文学作品，从犯罪学到精神病学和语言学，都被称为lunfardos。拾荒者、性工作者、不受欢迎的移民、小罪犯、乞丐和被边缘化的儿童组成了一幅生动的挂毯，展示了无家可归者的生活条件及其连续的流离失所和移民。恩里克·德·韦迪亚的《Transfusión》（1914）——一部几乎完全以对话形式写成的小说——以及恩里克·加西亚·韦洛索的戏剧《En el barrio de las ranas》（1910），“Al campo！Nicolás Granada（1902）和JoséEneas Riú的Yerba Mala（1908）警告说，健康人群的生物未来岌岌可危。在越轨人物出现在政治领域之前，戏剧文化曾上演过一场戏剧，暗示阿根廷社会需要抵御异常。这些小说充满了社会预防的梦想，暗示着离经叛道的生活形式与进步是脱节的。
{"title":"Lunfardos: Queerness, Social Prophylaxis, and the Futures of Reproduction in Fin-de-Siècle Argentine Dramaturgy","authors":"C. G. Halaburda","doi":"10.1353/LTR.2021.0005","DOIUrl":"https://doi.org/10.1353/LTR.2021.0005","url":null,"abstract":"Abstract:Early twentieth-century nativist dramaturgy explored Conservative Argentina’s dreams of racial purity and “peace and administration” in the context of transatlantic migratory flows and major changes in the urban design of Buenos Aires. Nativism aimed at identifying and preserving ways of being criollo by turning to the Pampas as an idyllic space of agglutination of national values, particularly in the figure of the gaucho. But nativist drama not only grounded its ethics on principles of moral conduct but also functioned as a space for the distribution and popularization of the latest expert knowledges imported from Europe, mainly degeneration theory. This article explores a series of dramatic texts that staged the lives of the extremely impoverished, criminalized, and destitute, whom a series of scientific and literary works, ranging from criminology to psychiatry and philology, called lunfardos. Trash pickers, sex workers, unwanted immigrants, petty criminals, beggars, and marginalized children composed a living tapestry that illustrated the conditions of homeless life and its successive displacements and migrations. Enrique de Vedia’s Transfusión (1914)—a novel written almost entirely in dialogue form—and the plays En el barrio de las ranas (1910) by Enrique García Velloso, ¡Al campo! (1902) by Nicolás Granada, and Yerba Mala (1908) by José Eneas Riú warned of the endangered biological futures of healthy sectors of the population. Before the emergence in the political field of figures of deviance, drama culture put on a show to suggest that Argentine society needed to be defended against the abnormal. Animated by dreams of social prophylaxis, these fictions suggested that deviant forms of life were disassociated from progress.","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.2021.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46803205","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":"“A home page for all of us”: A History of Café Onda: Journal of the Latinx Theatre Commons (2013–2018)","authors":"Trevor Boffone","doi":"10.1353/LTR.2021.0013","DOIUrl":"https://doi.org/10.1353/LTR.2021.0013","url":null,"abstract":"","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.2021.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46998659","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 in the Zócalo: Constructing History, Race, and Identity in Mexico’s Central Square from the Colonial Era to the Present by Ana Martínez (review)","authors":"Iván Eusebio Aguirre Darancou","doi":"10.1353/LTR.2021.0014","DOIUrl":"https://doi.org/10.1353/LTR.2021.0014","url":null,"abstract":"","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.2021.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43578156","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 Creation of “Zoomtheater” in the Time of COVID-19","authors":"N. Glickman","doi":"10.1353/LTR.2021.0010","DOIUrl":"https://doi.org/10.1353/LTR.2021.0010","url":null,"abstract":"","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.2021.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46822737","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":"Performances of Suffering in Latin American Migration: Heroes, Martyrs and Saints by Ana Elena Puga and Víctor M. Espinosa (review)","authors":"D. Castillo","doi":"10.1353/LTR.2021.0015","DOIUrl":"https://doi.org/10.1353/LTR.2021.0015","url":null,"abstract":"","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.2021.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41319855","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 Greek Trilogy of Luis Alfaro: Electricidad, Oedipus El Rey, Mojada ed. by Rosa Andújar (review)","authors":"Elizabeth Villalobos","doi":"10.1353/LTR.2021.0017","DOIUrl":"https://doi.org/10.1353/LTR.2021.0017","url":null,"abstract":"","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.2021.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44558683","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:A distinctive feature of Juan Radrigán’s theatrical production is his approach to the world of the marginalized and displaced sectors of Chilean society under the dictatorial regime (1973–1990) led by Augusto Pinochet. In this context, the absence of dialogue and understanding leads to social, political, economic, and human alienation. Such a process is evident in Redoble fúnebre para lobos y corderos (dos monólogos y un diálogo) (1981). This study aims to show how the motive of dialogue is sustained throughout the play by the crucial need of an actual interchange between the characters on stage and the audience whom they address. The references to a shared and immediate sociopolitical context, along with the dialogue that the characters try to initiate, compel the audience to assume the role of interlocutor. The elimination of the spatial and functional distinctions between characters and spectators leads to a democratizing experience that forces the audience to engage with the social reality of the marginalized and to come to terms with their own. I argue that Radrigán fosters a reconfiguration of the passive audience—both in the theatrical space and in society as a whole—through a mutual understanding between characters and spectators that aims to activate the audience of the wider socio-political spectacle of Chile under an authoritarian regime.
摘要：Juan Radrigán戏剧作品的一个显著特点是他对奥古斯托·皮诺切特领导的独裁政权（1973–1990）下智利社会边缘化和流离失所阶层的世界的处理方式。在这种情况下，缺乏对话和理解会导致社会、政治、经济和人类的异化。这种过程在Redoble fúnebre para lobos y corderos（dos monólogos y un diálogos）（1981）中表现得很明显。本研究旨在展示对话的动机是如何通过舞台上的角色和他们所面对的观众之间的实际交流这一关键需求而在整个戏剧中得以维持的。提及共同的、直接的社会政治背景，以及角色试图发起的对话，迫使观众扮演对话者的角色。消除了角色和观众之间的空间和功能差异，带来了一种民主化的体验，迫使观众参与边缘化群体的社会现实，并接受他们自己的现实。我认为，Radrigán通过角色和观众之间的相互理解，促进了被动观众的重新配置——无论是在戏剧空间还是在整个社会中——目的是激活观众对独裁政权下智利更广泛的社会政治景象的了解。
{"title":"La (im)posibilidad del diálogo escénico en Redoble fúnebre para lobos y corderos de Juan Radrigán","authors":"Melissa González-Contreras","doi":"10.1353/LTR.2021.0004","DOIUrl":"https://doi.org/10.1353/LTR.2021.0004","url":null,"abstract":"Abstract:A distinctive feature of Juan Radrigán’s theatrical production is his approach to the world of the marginalized and displaced sectors of Chilean society under the dictatorial regime (1973–1990) led by Augusto Pinochet. In this context, the absence of dialogue and understanding leads to social, political, economic, and human alienation. Such a process is evident in Redoble fúnebre para lobos y corderos (dos monólogos y un diálogo) (1981). This study aims to show how the motive of dialogue is sustained throughout the play by the crucial need of an actual interchange between the characters on stage and the audience whom they address. The references to a shared and immediate sociopolitical context, along with the dialogue that the characters try to initiate, compel the audience to assume the role of interlocutor. The elimination of the spatial and functional distinctions between characters and spectators leads to a democratizing experience that forces the audience to engage with the social reality of the marginalized and to come to terms with their own. I argue that Radrigán fosters a reconfiguration of the passive audience—both in the theatrical space and in society as a whole—through a mutual understanding between characters and spectators that aims to activate the audience of the wider socio-political spectacle of Chile under an authoritarian regime.","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.2021.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47531512","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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