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 196
... role playing is not simply a means of es- cape from a harsh present reality or an attempt to reach an “ au- thentic " inner self . Role playing becomes an inescapable fact of life at the same time that the roles themselves become ...
... role playing is not simply a means of es- cape from a harsh present reality or an attempt to reach an “ au- thentic " inner self . Role playing becomes an inescapable fact of life at the same time that the roles themselves become ...
Page 203
... role of Columbus , describes his dream of America and admits : " sé que no debo decir América , pero como son las dos de la mañana , puedo permitirme una pre- monición ” ( 35 ; 1 ) [ I know I should not say America , but since it's two ...
... role of Columbus , describes his dream of America and admits : " sé que no debo decir América , pero como son las dos de la mañana , puedo permitirme una pre- monición ” ( 35 ; 1 ) [ I know I should not say America , but since it's two ...
Page 207
... role and that the presence of an audience is what makes the role possible . The stress on role playing both elicits and comments upon the audi- ence's complicity in the humiliating process . The suggestion that all people , in and out ...
... role and that the presence of an audience is what makes the role possible . The stress on role playing both elicits and comments upon the audi- ence's complicity in the humiliating process . The suggestion that all people , in and out ...
Contents
ACKNOWLEDGMENTS | 9 |
PERFORMANCE TEXTUALITY AND THE NARRATION OF HISTORY | 29 |
PERFORMANCE AND GAMES | 75 |
Copyright | |
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