The Leper in Blue: Coercive Performance and the Contemporary Latin American TheaterDrawing upon contemporary theoretical debates surrounding performance, gender, and Latin American studies, The Leper in Blue examines representations of performance within dramatic texts. The book treats the work of playwrights such as Vincente Lenero, Sabina Berman, Mariela Romero, Griselda Gambaro, Maruxa Vilalta, and Rosario Castellanos, who depict the freedom of performance within a framework of compulsion. Individual chapters focus on the transformation of historical narratives, ritual game playing, the performance of gender, the staging of torture, and, finally, nonperformance--the representation of coercive performances that are at once demanded and denied. The plays examined not only raise important questions about the nature of performance but also shed light on many of the crucial sociopolitical issues of twentieth-century Latin America, among them economic instability, political repression, state violence, and dictatorship. |
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Page 77
... reality with which the chil- dren are surrounded . The theatrical play of ambiguously child - like adults , already distanced from childhood reality , invites us to read their games as allegorical or symbolic . ' Jacqueline Bixler ...
... reality with which the chil- dren are surrounded . The theatrical play of ambiguously child - like adults , already distanced from childhood reality , invites us to read their games as allegorical or symbolic . ' Jacqueline Bixler ...
Page 96
... reality to the level of an implicitly escapable game . In this , the games mirror the theatrical situation , in which the actors necessarily move in and out of character , so that the pretended paralysis is false on more than one level ...
... reality to the level of an implicitly escapable game . In this , the games mirror the theatrical situation , in which the actors necessarily move in and out of character , so that the pretended paralysis is false on more than one level ...
Page 98
... reality " ( " Theatre " 230 ) . The view of play as a perception of reality accords well with Ana I's own charac- terization of her painting as a depiction of what she sees , not neces- sarily what is . Ana I and Ana II perceive a reality ...
... reality " ( " Theatre " 230 ) . The view of play as a perception of reality accords well with Ana I's own charac- terization of her painting as a depiction of what she sees , not neces- sarily what is . Ana I and Ana II perceive a reality ...
Contents
ACKNOWLEDGMENTS | 9 |
PERFORMANCE TEXTUALITY AND THE NARRATION OF HISTORY | 29 |
PERFORMANCE AND GAMES | 75 |
Copyright | |
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Common terms and phrases
abstract spectacle action Acto cultural actors Águila o sol Agustino Ana I's Ana II Argentina argues audi audience audience's becomes Berman's Bolívar Capitán Castellanos's Cerdín characters coercion coercive context Cortés cross-dressed describes despojamiento dirty war discussed doll dramatic text Eduardo Emma Emma's eterno femenino Falsa crónica feigned paralysis female feminine foregrounding formance Franco Gambaro's gender gender roles Griselda Gambaro historical hombre immobility Información Juana Juana la Loca juego La Malinche La tortura Latin American Lector Leñero's Lupita male Malinche Mama Negra mance Martín Martirio de Morelos Morelos Morelos's mujer mustache narrative nonperformance obra offstage Pajarito paralysis Pedro performance play play's present Preso prisoners question reading reality reenactment repetition representation represented ritual role Rosario Castellanos Sabina Berman scene script sexual social space spectator stage suggests Taylor teatro terror theater theatrical tion Torres Molina's torture translation transvestism transvestite violence visible woman women