D. Castillo, Ana Florencia López Ulloa, Estefanía Flores Ortiz, Araceli González Crespán, María Isabel Martín Sánchez, Julio Antonio Molinete, Timothy G. Compton, E. V. Toral, Dominique E. Polanco, Edith Ibarra, Luis Mario Moncada, Estela Leñero Franco, Brenda Schmunck, Mauricio Tafur Salgado, G. Díaz
{"title":"粉红闪光:反对暴力的活动家剧院","authors":"D. Castillo, Ana Florencia López Ulloa, Estefanía Flores Ortiz, Araceli González Crespán, María Isabel Martín Sánchez, Julio Antonio Molinete, Timothy G. Compton, E. V. Toral, Dominique E. Polanco, Edith Ibarra, Luis Mario Moncada, Estela Leñero Franco, Brenda Schmunck, Mauricio Tafur Salgado, G. Díaz","doi":"10.1353/ltr.2022.0012","DOIUrl":null,"url":null,"abstract":"Abstract:This article tracks the two-year process of developing the Spanish-language play, Diamantina rosa: se vale bailar, and its English-language counterpart, Pink Glitter, under the travel and performance restrictions imposed by COVID. While waiting for live theatre to start up again, the creators of the play began rethinking how to do theatre in the contemporary environment. This study documents the play's development in several very different formats: the eventual scrapping of the original idea of producing a Spanish monologue/DJ set in favor of a more richly evolved in-person Spanish-language live performance with multiple actors; the very different scripts and formats for the two online English-language variations of the play; and the English-language live performance.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"56 1","pages":"104 - 105 - 120 - 121 - 126 - 127 - 129 - 131 - 134 - 135 - 140 - 141 - 142 - 143 - 144 - 144 - 146"},"PeriodicalIF":0.1000,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Pink Glitter: Activist Theatre against Violence\",\"authors\":\"D. Castillo, Ana Florencia López Ulloa, Estefanía Flores Ortiz, Araceli González Crespán, María Isabel Martín Sánchez, Julio Antonio Molinete, Timothy G. Compton, E. V. Toral, Dominique E. Polanco, Edith Ibarra, Luis Mario Moncada, Estela Leñero Franco, Brenda Schmunck, Mauricio Tafur Salgado, G. Díaz\",\"doi\":\"10.1353/ltr.2022.0012\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:This article tracks the two-year process of developing the Spanish-language play, Diamantina rosa: se vale bailar, and its English-language counterpart, Pink Glitter, under the travel and performance restrictions imposed by COVID. While waiting for live theatre to start up again, the creators of the play began rethinking how to do theatre in the contemporary environment. This study documents the play's development in several very different formats: the eventual scrapping of the original idea of producing a Spanish monologue/DJ set in favor of a more richly evolved in-person Spanish-language live performance with multiple actors; the very different scripts and formats for the two online English-language variations of the play; and the English-language live performance.\",\"PeriodicalId\":41320,\"journal\":{\"name\":\"LATIN AMERICAN THEATRE REVIEW\",\"volume\":\"56 1\",\"pages\":\"104 - 105 - 120 - 121 - 126 - 127 - 129 - 131 - 134 - 135 - 140 - 141 - 142 - 143 - 144 - 144 - 146\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2022-09-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"LATIN AMERICAN THEATRE REVIEW\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/ltr.2022.0012\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"LATIN AMERICAN THEATRE REVIEW","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/ltr.2022.0012","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
Abstract:This article tracks the two-year process of developing the Spanish-language play, Diamantina rosa: se vale bailar, and its English-language counterpart, Pink Glitter, under the travel and performance restrictions imposed by COVID. While waiting for live theatre to start up again, the creators of the play began rethinking how to do theatre in the contemporary environment. This study documents the play's development in several very different formats: the eventual scrapping of the original idea of producing a Spanish monologue/DJ set in favor of a more richly evolved in-person Spanish-language live performance with multiple actors; the very different scripts and formats for the two online English-language variations of the play; and the English-language live performance.
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