{"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":"54 1","pages":"256 - 257"},"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:Gil Vicente (1465?–1536?) is a foundational playwright in Portuguese theatre history. The rediscovery of his work over the years elevated him to the status of “father of Portuguese drama,” while his growing stature was politically celebrated with great enthusiasm throughout the 19th and 20th centuries. His presence remains today, despite the lack of critical studies on his theatre and legacy. In response to that lack, this article proposes a panoramic approach to the different “Gis Vicentes” that have been formulated from the Bibliotheca Lusitana—Barbosa Machado’s 1747 bio-bibliographic project—to the première of the Trilogia das barcas (1970), an opera in two acts by Joly Braga Santos. This study seeks to contribute not only to a better understanding of the contexts in which the Vincentian phenomenon developed, but also to a more accurate awareness of how much contemporary Portuguese theatre continues to prolong Vicente’s artistic legacy.
{"title":"Da Bibliotheca Lusitana (1747) à Trilogia das barcas (1970): a invenção moderna de Gil Vicente","authors":"Edward Ayres de Abreu","doi":"10.1353/ltr.2021.0001","DOIUrl":"https://doi.org/10.1353/ltr.2021.0001","url":null,"abstract":"Abstract:Gil Vicente (1465?–1536?) is a foundational playwright in Portuguese theatre history. The rediscovery of his work over the years elevated him to the status of “father of Portuguese drama,” while his growing stature was politically celebrated with great enthusiasm throughout the 19th and 20th centuries. His presence remains today, despite the lack of critical studies on his theatre and legacy. In response to that lack, this article proposes a panoramic approach to the different “Gis Vicentes” that have been formulated from the Bibliotheca Lusitana—Barbosa Machado’s 1747 bio-bibliographic project—to the première of the Trilogia das barcas (1970), an opera in two acts by Joly Braga Santos. This study seeks to contribute not only to a better understanding of the contexts in which the Vincentian phenomenon developed, but also to a more accurate awareness of how much contemporary Portuguese theatre continues to prolong Vicente’s artistic legacy.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"29 - 50"},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2021.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66303245","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":"Aquí and Allá: Transnational Dominican Theater and Performance by Camilla Stevens (review)","authors":"Bretton White","doi":"10.1353/LTR.2021.0018","DOIUrl":"https://doi.org/10.1353/LTR.2021.0018","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"253 - 254"},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LTR.2021.0018","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44805215","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:Ya nadie recuerda a Fréderic Chopin (1982) by Roberto Cossa is part of a set of works in which the past functions as a burden that paralyzes the characters or as a place in which to escape the present. This set of pieces, which we consider under the label “unproductive nostalgia,” are presented in an introductory section that offers a complete map of Cossa’s works on memory. The second part of the article analyzes Ya nadie recuerda a Fréderic Chopin, focusing on the theatrical procedures used to boost on stage the conscience of the protagonist, such as the polychrome of scenic time, the insertion of scenes from the past, and the intense poetic atmosphere that generates the staging of nostalgia. Finally, we underscore the ultimate dramatic twist, in which the author makes evident his corrosive criticism of the middle class of Buenos Aires within the dictatorial context in which the piece was written and premiered.
{"title":"El escenario como espacio de la memoria en Ya nadie recuerda a Fréderic Chopin de Roberto Cossa","authors":"Yolanda Ortiz Padilla","doi":"10.1353/LTR.2021.0007","DOIUrl":"https://doi.org/10.1353/LTR.2021.0007","url":null,"abstract":"Abstract:Ya nadie recuerda a Fréderic Chopin (1982) by Roberto Cossa is part of a set of works in which the past functions as a burden that paralyzes the characters or as a place in which to escape the present. This set of pieces, which we consider under the label “unproductive nostalgia,” are presented in an introductory section that offers a complete map of Cossa’s works on memory. The second part of the article analyzes Ya nadie recuerda a Fréderic Chopin, focusing on the theatrical procedures used to boost on stage the conscience of the protagonist, such as the polychrome of scenic time, the insertion of scenes from the past, and the intense poetic atmosphere that generates the staging of nostalgia. Finally, we underscore the ultimate dramatic twist, in which the author makes evident his corrosive criticism of the middle class of Buenos Aires within the dictatorial context in which the piece was written and premiered.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"167 - 189"},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LTR.2021.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46597779","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 Lázaro Gabino Rodríguez de Lagartijas Tiradas al Sol","authors":"María Miranda Rocamora","doi":"10.1353/LTR.2021.0011","DOIUrl":"https://doi.org/10.1353/LTR.2021.0011","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"221 - 226"},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LTR.2021.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43618030","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 study examines the urban ludic sphere in the Río de la Plata region during the first decade of the twentieth century, with particular emphasis on the sainete criollo as the main protagonist. The plays analyzed in this article occupied the public sphere through their engagement with socio-economic issues that emerged within the context of rapid modernization. They developed relationships within urban space, modifying it while also incorporating the voices that inhabited it. Furthermore, the intersections between these sainetes and other cultural practices such as carnival, tango, cocoliche, and lunfardo contributed to the building of said sphere. Even though this particular space was only conceivable within the context of urbanization and modernization, the sainete criollo served to question the very same state projects that promoted its formation in the first place. The tensions that informed the urban ludic sphere in the Río de la Plata are prominently on display in Florencio Sánchez’s Canillita (1902), El desalojo (1906), and Moneda falsa (1907) as well as in Carlos Mauricio Pacheco’s Los disfrazados (1906).
{"title":"Modernización en escena: espacio urbano y sainete criollo en el Río de la Plata","authors":"Soledad Mocchi-Radichi","doi":"10.1353/LTR.2021.0006","DOIUrl":"https://doi.org/10.1353/LTR.2021.0006","url":null,"abstract":"Abstract:This study examines the urban ludic sphere in the Río de la Plata region during the first decade of the twentieth century, with particular emphasis on the sainete criollo as the main protagonist. The plays analyzed in this article occupied the public sphere through their engagement with socio-economic issues that emerged within the context of rapid modernization. They developed relationships within urban space, modifying it while also incorporating the voices that inhabited it. Furthermore, the intersections between these sainetes and other cultural practices such as carnival, tango, cocoliche, and lunfardo contributed to the building of said sphere. Even though this particular space was only conceivable within the context of urbanization and modernization, the sainete criollo served to question the very same state projects that promoted its formation in the first place. The tensions that informed the urban ludic sphere in the Río de la Plata are prominently on display in Florencio Sánchez’s Canillita (1902), El desalojo (1906), and Moneda falsa (1907) as well as in Carlos Mauricio Pacheco’s Los disfrazados (1906).","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"145 - 165"},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LTR.2021.0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43726607","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 explores the relationship between terror and spatiality in Maria Irene Fornes’s Terra Incognita (1991), a play rooted firmly, as its title suggests, in the production of spatiality. Fornes turns conventional spatial conceptions upside down by synchronising history with the present. Spatiality corresponds to both the social and political practices of terror and the alternative spaces opened up in the play to resist such terror, providing the grounds, both literally and metaphorically, from which to examine the inscribed modes of terror in the play. The essay’s main line of argument is informed by the concept of heterotopia proposed by Michel Foucault in Of Other Spaces (1967). Heterotopias are real spaces (as opposed to imaginary spaces) that exist in stark contradiction to other real spaces, thereby problematising their existence. By constructing such a heterotopic space where the specificity of space and time, territorial borders, and religious, racial, ethnical, and national sovereignty lose their prescriptive significance, Terra Incognita opens to debate the human maladies that risk the future.
{"title":"Terror, Spatiality, and the Future in Maria Irene Fornes’s Terra Incognita","authors":"Yeliz Biber Vangölü","doi":"10.1353/LTR.2021.0002","DOIUrl":"https://doi.org/10.1353/LTR.2021.0002","url":null,"abstract":"Abstract:This essay explores the relationship between terror and spatiality in Maria Irene Fornes’s Terra Incognita (1991), a play rooted firmly, as its title suggests, in the production of spatiality. Fornes turns conventional spatial conceptions upside down by synchronising history with the present. Spatiality corresponds to both the social and political practices of terror and the alternative spaces opened up in the play to resist such terror, providing the grounds, both literally and metaphorically, from which to examine the inscribed modes of terror in the play. The essay’s main line of argument is informed by the concept of heterotopia proposed by Michel Foucault in Of Other Spaces (1967). Heterotopias are real spaces (as opposed to imaginary spaces) that exist in stark contradiction to other real spaces, thereby problematising their existence. By constructing such a heterotopic space where the specificity of space and time, territorial borders, and religious, racial, ethnical, and national sovereignty lose their prescriptive significance, Terra Incognita opens to debate the human maladies that risk the future.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"51 - 70"},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LTR.2021.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45564013","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":"Digitally-Delivered Mexican Theatre during the COVID-19 Pandemic of 2020","authors":"Timothy G. Compton","doi":"10.1353/LTR.2021.0009","DOIUrl":"https://doi.org/10.1353/LTR.2021.0009","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"199 - 215"},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/LTR.2021.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48570853","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":"Not the Time to Stay: The Unpublished Plays of Víctor Fragoso by Víctor Fragoso (review)","authors":"David Tenorio","doi":"10.1353/ltr.2020.0027","DOIUrl":"https://doi.org/10.1353/ltr.2020.0027","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"156 - 157"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41938465","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":"In Memoriam: Deb Cohen (1955-2020)","authors":"Elaine M. Miller","doi":"10.1353/ltr.2020.0022","DOIUrl":"https://doi.org/10.1353/ltr.2020.0022","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"149 - 150"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41611858","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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