Chapter Ten: Theatre
Comps writers mentioned:
-
Florencio
Sánchez, Barranca abajo (pg. 303)
-
Rodolfo
Usigli, El gesticulador (pg. 304)
-
Emilio
Carballido, Yo también hablo de la rosa
(pg. 304-305)
-
Griselda
Gámbaro, Los siameses (pg. 305)
General notes:
-
Theatre has had a long history in Latin America,
beginning with missionary theatre in colonial period (303)
-
Despite the constant popularity of theatre and spectacle,
Latin American theatre hasn’t, in general, been as innovative as the novel and
lyric poetry (303)
-
Florencio Sánchez
o
Uruguay, 1875-1910
o
Introduced naturalist drama to the River Plate
region
o
The first Spanish-America dramatist to attempt
to reflect the contemporary problems of immigration
-
The avant-garde movements of the 1920’s
introduced experimental theatre, some of which was intended to reach popular
audiences (303)
-
Explorations of national character and national flaws
inform much of the drama written between the 1930s and 1950s, during the same
period when there was a proliferation of essays on national identity (304)
-
Rodolfo Usigli, El gesticulador (1937)
o
Mexico, 1905-1980
o
Play is a cutting analysis of the Mexican
political lie
o
Its protagonist impersonated a dead
revolutionary general; when the truth is discovered, it is not believed since
Mexicans prefer myth to reality
-
“The persistence of theatre rather than its quality
is perhaps the most surprising aspect of the 1940s and ‘50’s
-
Emilio Carballido
o
Mexico (1925-present)
o
Yo también hablo de la rosa (1965) – use of farce, use of music and
elaborate sets
-
In the 1960s, there were crucial changes in
theatre which, to some extent, paralleled the developments in the novel (305)
o
There was some activity in theatre due to
interest in experimentation
-
Griselda Gámbaro
o
Argentina, 1928-present
o
Dramas centered on brutal power relations
o
Minimalist plays
o
Los siameses
(1965)
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