LATIN AMERICAN THEATRE REVIEW最新文献

{"title":"Sancocho, teatro y pez Capitán: Entrevista con María Buenaventura y su lucha contra los silencios bogotanos","authors":"Ana Martínez","doi":"10.1353/ltr.2023.a917969","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917969","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Sancocho, teatro y pez Capitán:<span>Entrevista con María Buenaventura y su lucha contra los silencios bogotanos</span> <!-- /html_title --></li> <li> Ana Martínez </li> </ul> <p>El 13 de julio de 2023 me reuní con María Buenaventura para charlar sobre su carrera artística, la cual abarca la cocina, el performance, la instalación, la historia y la escritura. Buenaventura nació en Medellín en 1974 y creció en Bogotá en una familia teatral, siendo sobrina del maestro Enrique Buenaventura. Con títulos en bellas artes y filosofía, ella cuenta con estudios de creación escénica en la escuela internacional de teatro Jacques Lecoq de París. La investigación y creación de María se ha enfocado en recuperar la historia de Bogotá y devolver a los bogotanos el agua, los peces, las semillas y la comida que se ha olvidado. Su investigación lleva catorce años de trabajo con organizaciones campesinas, cocineros y custodios de semillas. En esta charla, Buenaventura comparte su trayectoria como artista en una Bogotá de violencia silenciada pero también de arte, resistencia y vida.<sup>1</sup></p> <p><em>A modo de introducción, ¿me podrías platicar un poco sobre cómo inició tu carrera artística y cómo fue que empezaste con tu investigación?</em></p> MARIA: <p>Hay muchas cosas que se cruzan. Yo estudié filosofía y letras en la Universidad de los Andes. Entré a estudiar filosofía por una razón bien absurda. Mi familia era comunista y nuestro proyecto de vida era ir a estudiar a los países comunistas. Teníamos beca asegurada. En 1989 yo estaba a punto de salir del colegio y todo estaba listo para que fuera a estudiar teatro con el Berliner Ensemble, pero cayó el muro de Berlín y ya no fui. Para ese entonces mi papá y mi mamá ya estaban separados del partido y todos aplaudieron la caída del muro de Berlín mientras me miraban con pesar. Entonces yo quedé un poco perdida. La Academia de Teatro de Bogotá, dirigida por Santiago García, cerró ese año y no sabía para dónde ir. Me pareció que si estudiaba <strong>[End Page 91]</strong> filosofía podía retomar el teatro y tener una base sólida de pensamiento. Fue fatal porque después de cinco años de filosofía fui a estudiar teatro en París con Jacques Lecoq y ya no podía improvisar. Estaba pensando mucho. En el 1998 regreso a Bogotá y me uno a un colectivo de artistas multidisciplinarios y empezamos a trabajar en mezcla de video en vivo. Nos inspiramos en un ejercicio de Lecoq en el que se transfieren los ritmos de la cocina al cuerpo y empezamos a ver como mezclábamos video con ritmos de la cocina. Y entonces empecé a leer sobre cocina bogotana. Me metí en el sótano de la biblioteca y empecé a buscar recetarios antiguos y a leer los libros de historia de mi papá. Mi padre, Nicolás Buenaventura, era historiador y tenía una gran colección de libros del siglo XIX. Empecé a ver que en el siglo XIX los autores","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"82 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139909808","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":"Estreno de Las diosas subterráneas en la Ciudad de México el 26 de febrero de 2023","authors":"Lidia Martí Barchín","doi":"10.1353/ltr.2023.a917967","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917967","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Estreno de <em>Las diosas subterráneas</em> en la Ciudad de México el 26 de febrero de 2023 <!-- /html_title --></li> <li> Lidia Martí Barchín </li> </ul> <p>El 26 de febrero de 2023, a las 18 horas en Ciudad de México, se estrena <em>Las diosas subterráneas</em>, idea original y dirección de Rocío Carrillo. La representación se celebra en la sala Xavier Villaurrutia, en el Centro Cultural del Bosque. Rocío Carrillo es una de las autoras más aplaudidas en el mundo del teatro en México gracias a sus conocimientos en dramaturgia, dirección e iluminación. Es conocida por puestas en escena como <em>Otra Electra</em>, de la dramaturga Edith Ibarra, y <em>Pueblo espíritu</em> o <em>Psique</em>.</p> <p>Rocío Carrillo entiende el alto potencial que tiene el mito para denunciar el presente. Por ello, en <em>Las diosas subterráneas</em> recupera el rapto de Perséfone para remitir a las desapariciones de mujeres —también de hombres— en el país. Si bien es cierto que es una obra teatral que plantea un conflicto —el rapto—, sus consecuencias y posibles soluciones, las implicaciones de las familias y la búsqueda de justicia, Carrillo no utiliza las formas y estructuras tradicionales de la dramaturgia. El diálogo apenas existe y la palabra, dada su poca presencia, adquiere una fuerza inconmensurable. A esta característica se suman el uso del cuerpo, la luz y la música en perfecta armonía como elementos escénicos centrales. <strong>[End Page 83]</strong></p> <br/> Click for larger view<br/> View full resolution <p>Dionisos y sus bacantes escenificando el mito de Perséfone. Autor: Alejandro Aquino.</p> <p></p> <p>La Secretaría de Gobernación de México reveló que el año 2022 se había cerrado con más de 100 mil personas desaparecidas. Esta es una realidad que afecta a miles de familias mexicanas, en las que cada miembro expresa sus sentimientos de manera diversa. La voz de las madres buscadoras ha sido reconocida y expresada en distintos medios artísticos. Sin embargo, pocas han sido las manifestaciones que han dado voz al progenitor masculino. Rocío Carrillo tiene esto en cuenta y, a través de Ernesto Lecuona en su papel de Mateo, reflexiona sobre la situación del padre, a quien prácticamente se le ha negado la posibilidad de buscar a sus hijos y llorarlos, pues debe continuar trabajando para sustentar a la familia y mantener el prototipo de masculinidad establecido en la sociedad.</p> <p>La obra se convierte en una denuncia contra la violencia ejercida a los desaparecidos y sus familias. Durante la función, se proyectan imágenes de personas desaparecidas, a gritos de \"¡Vivos se los llevaron, vivos los queremos!\" Sin duda, esta es una propuesta con la que Rocío Carrillo y el elenco de actores y técnicos que la acompañan estremecen al público. La representación nos hace reflexionar sobre el mundo en el que vivimos y sobre la necesidad de actuar","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"138 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581581","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":"Brote, instalación política disruptiva en las artes escénicas contemporáneas de Valparaíso","authors":"Lorena Saavedra González","doi":"10.1353/ltr.2023.a917965","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917965","url":null,"abstract":"<p><p>Abstract:</p><p>This article aims to deploy the notion of \"installation\" through an analysis of <i>Brote: instalación escénica en el espacio público</i>, which was staged in Valparaíso in 2021 by the Laboratorio de Creación Teatral and directed by Stefany Duarte. The staging was a political response to both the de-naturalization of public spaces and the plight of women in Chilean society. Duarte began by working with testimonies by women that revolved around their connection to nature. The result is an interdisciplinary, ecofeminist installation that congregates women inside a greenhouse. Granting primacy to image and space over language, <i>Brote</i> is an immersive proposal that depends on spectators for its completion. A politically disruptive event, the premiere of <i>Brote</i> was purposely scheduled to coincide with the 2019 Women's March (M8) and other manifestations staged to call attention to the plight of women in contemporary society.</p></p>","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581324","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":"Archivo y repertorio en el docudrama transfronterizo (Ciudad Juárez-El Paso): La sal de la guerra de Selfa Chew","authors":"Carlos Urani Montiel","doi":"10.1353/ltr.2023.a917964","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917964","url":null,"abstract":"<p><p>Abstract:</p><p>The theatre of Selfa Chew (Mexico City, 1962) takes ownership of historical events to add fictional but feasible possibilities within the represented political reality to which it belongs as a descendant or heir. The docudrama <i>The Salt of War</i> is an example of such theatre. The possible scenarios of this dramatic text, written in 2014, are constructed with the same subjectivity as the official U.S. versions of the exploitation of natural resources after the demarcation of the Mexico-U.S. border in 1848, the Apache extermination (1861-1886), and the conflict over the exploitation of salt between the residents of the town of San Elizario and the Texan authorities (1877). For the analysis, I focus on the main components of the text: 1) Documentary: the actual reference; 2) Archive/repertoire: the deficit of documentary sources and the use of the collective memory of the people involved; 3) Female characters: the relevance of the way in which women are portrayed; and 4) Cross-border region: the geographic coordinates where the factors that afflict its inhabitants take place: marginalization, racism, xenophobia; and other issues that, in a timeless way, persist in this liminal zone, facilitating the connection of the plays with their ideal audience.</p></p>","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581462","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":"Los Tejanos as a Nineteenth-Century Border Play","authors":"Andrew Gibb","doi":"10.1353/ltr.2023.a917963","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917963","url":null,"abstract":"<p><p>Abstract:</p><p>Since the 1980s, playwrights in the Mexican Northwest/US Southwest have responded to the steadily increasing militarization of the US-Mexico border by dramatizing the fraught identity choices forced upon borderlanders by geopolitical forces beyond their control. In the US, the term \"border play\" is commonly used to describe such works. In this essay, I argue that the border play, as a regional form, has roots far deeper than the late twentieth century. I offer as an example <i>Los Tejanos</i>, a <i>nuevomexicano</i> secular drama dated to the 1840s, which tells the story of an invasion of the then Mexican department of New Mexico by the neigh-boring Republic of Texas. While the play's plot conveys an explicitly patriotic tale of New Mexican solidarity in the face of Anglo aggression, an analysis of its characters reveals that national, ethnic, and racial identities were far less settled at that time than the script suggests. I contend that the categorization of <i>Los Tejanos</i> as a border play reveals the form to be a deeply historical and regionally-specific artistic response to the ambiguous nature of borderland identities. Additionally, the appearance of a prominent Native American character in <i>Los Tejanos</i> speaks to the centrality of indigeneity to regional identity formation in the past, thus drawing attention to the relative lack of Indigenous presence in recent US border plays.</p></p>","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581556","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":"Feeling the Gaze. Image and Affect in Contemporary Argentine and Chilean Performance by Gail A. Bulman (review)","authors":"Ilka Kressner","doi":"10.1353/ltr.2023.a917971","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917971","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Feeling the Gaze. Image and Affect in Contemporary Argentine and Chilean Performance&lt;/em&gt; by Gail A. Bulman &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Ilka Kressner &lt;/li&gt; &lt;/ul&gt; Bulman, Gail A. &lt;em&gt;Feeling the Gaze. Image and Affect in Contemporary Argentine and Chilean Performance&lt;/em&gt;. Chapel Hill: The University of North Carolina Press, 2022. 350 pp. &lt;p&gt;Performances are live events, defined by their finiteness. But what do we remember after we leave the theater? Gail Bulman's &lt;em&gt;Feeling the Gaze. Image and Affect in Contemporary Argentine and Chilean Performance&lt;/em&gt; explores the lingering impact of specific visual elements in eight contemporary Argentinean and Chilean performances staged since 2014. Situated at the crossroads of performance, affect, and memory studies, this book examines intentionally repeated images such as strategically positioned paintings, props, clothes, frames, and screens as means to provoke a deeper contemplation of personal, social, historical, and political backdrops.&lt;/p&gt; &lt;p&gt;In the two parts of this book, \"Embodied Images\" and \"Seeing Through Screens,\" Bulman studies how seemingly ordinary props gain a deeper, affective potential in a carefully selected corpus of plays. The first chapter \"Seeing Beyond the Props,\" discusses the meaning of heroism in the Chilean play &lt;em&gt;O'Higgins, un hombre en pedazos&lt;/em&gt; (Tyro Teatro Banda, 2016) and the contemporary reality of immigration in Chile in &lt;em&gt;Fulgor&lt;/em&gt; (Teatro Niño Proletario, 2016). While &lt;em&gt;O'Higgins&lt;/em&gt; revisits the figure of Bernardo O'Higgins through the use of portraits, musical instruments, and clothes, &lt;em&gt;Fulgor&lt;/em&gt; features a large frame that is moved around on stage by the characters that are alternately acting within or outside of it. The framing device conveys notions of exclusion and belonging and invites audiences to consider visuality as an interactive process.&lt;/p&gt; &lt;p&gt;The second chapter, \"Images as Language,\" examines &lt;em&gt;Manual de carroña&lt;/em&gt; (Ariel Hermosilla, 2016) and &lt;em&gt;En la sombra de la cúpula&lt;/em&gt; (text by Agustín León Pruzzu; staged by Mario, Luiggi y sus fantasmas, 2019). In &lt;em&gt;Manual&lt;/em&gt;, eight of the ten characters are disguised as animals that remain mute throughout most of the play. The only human beings, the ones that must put up with the eccentricities of the upper-class party animals, are their servants. Bulman explains how this visual animalization serves as a satirical critique of human boorishness. The images examined in &lt;em&gt;En la sombra&lt;/em&gt; are shadows. An actualization of Roberto Arlt's work &lt;em&gt;300 millones&lt;/em&gt;, this play discusses economic hardship and an alternate dream reality in a neoliberal world. Staged on the rooftop of the cupola of the Bencich building in Buenos Aires, the strategic use of shadows introduces oneiric elements into the otherwise realistic narration. &lt;strong","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581609","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":"Obra negra. Olimpia 68. Una versión de Hamlet by Flavio González Mello (review)","authors":"Michael \"Raúl\" Brown","doi":"10.1353/ltr.2023.a917972","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917972","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Obra negra. Olimpia 68. Una versión de Hamlet&lt;/em&gt; by Flavio González Mello &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Michael \"Raúl\" Brown &lt;/li&gt; &lt;/ul&gt; González Mello, Flavio. &lt;em&gt;Obra negra. Olimpia 68. Una versión de Hamlet&lt;/em&gt;. Universidad Nacional Autónoma de México, 2022. 262 pp. &lt;p&gt;This collection gathers three plays by Flavio González Mello that debuted in the theatres of the UNAM between 2007 and 2016. The author introduces the trio of works with a brief \"Preámbulo,\" in which he describes the production process. He explains that he completed and revised the plays not just at readings and rehearsals, but also during their run in the university theatres. In addition to the plays, the author offers a seven-page essay titled \"Un Shakespeare para las tablas,\" which precedes and introduces &lt;em&gt;Una versión de Hamlet&lt;/em&gt;.&lt;/p&gt; &lt;p&gt;&lt;em&gt;Obra negra&lt;/em&gt; serves as both the first and the most avant-garde of the collection. In keeping with the idea of &lt;em&gt;obra negra&lt;/em&gt;, meaning a roughed-out, incomplete construction, this play provides few stage directions and consists of a set described as \"una abstracción basada en croquis arquitectónicos\" (17). Likewise, the characters appear as sketches rather than fully developed individuals. In fact, 10 actors perform 35 roles, including 10 who are simply labeled as &lt;em&gt;desaparecidos&lt;/em&gt; and 25 with generic names such as the Critic, the Artist, the Pregnant Woman, the Custodian, and so forth. The characters, most of whom were previously oblivious to one another's existence, share one thing in common: all find themselves trapped in a \"smart building\" as it collapses. Unable to escape due to the building's Intelligence system, which moves the stairs and deposits elevator passengers on seemingly random floors, each individual possesses his/her own explanation for the building's demise. These include an earthquake, war, terrorism, meteorite, demolition to collect insurance, a simulation, protests, and the smart building committing suicide. A second meaning to &lt;em&gt;obra negra&lt;/em&gt; revolves around a \"priceless\" piece of art that appears to be nothing more than a canvas painted black. Nonetheless, the artist says that it contains a hidden landscape as a deliberate palimpsest. Of course, everyone who looks at the painting sees something different, just as viewers of the play may walk away with many interpretations of its layers.&lt;/p&gt; &lt;p&gt;Although the first play might allude to events like the collapse of the World Trade Center, &lt;em&gt;Olimpia 68&lt;/em&gt; transports the reader to the historical events of the 1968 Olympics held in Mexico City. Staged on the 40th anniversary of the massacre in the Plaza de Tlatelolco, González Mello gives the audience a glimpse at President Gustavo Díaz Ordaz's assault on student protesters through the eyes of young, foreign Olympians. The play manages to com","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581461","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":"Antígona by José Watanabe: A Bilingual Edition with Critical Essays by Cristina Pérez Díaz (review)","authors":"Leticia Robles-Moreno","doi":"10.1353/ltr.2023.a917973","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917973","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Antígona by José Watanabe: A Bilingual Edition with Critical Essays&lt;/em&gt; by Cristina Pérez Díaz &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Leticia Robles-Moreno &lt;/li&gt; &lt;/ul&gt; Pérez Díaz, Cristina. &lt;em&gt;Antígona by José Watanabe: A Bilingual Edition with Critical Essays&lt;/em&gt;. Routledge, 2022. 172 pp. &lt;p&gt;Cristina Pérez Díaz's book offers an important contribution to artistic and academic approaches to Latin American re-imaginings of Sophocles' Greek classic. This is the first full-length English translation of &lt;em&gt;Antígona&lt;/em&gt;, which Peruvian poet José &lt;strong&gt;[End Page 108]&lt;/strong&gt; Watanabe wrote in collaboration with Teresa Ralli, founding member of the renowned Peruvian theatre collective Grupo Cultural Yuyachkani. In this version, Antigone's death, a consequence of Creon's tyrannical decree, is told through poems that draw from each character's perspective. One of these characters, the narrator, is Ismene, the sister who performs a belated funerary ritual for the brother who motivated Antigone's sacrifice. Pérez Díaz emphasizes the political project rooted in this Peruvian Antigone and its feminist connotations: \"[Ismene] becomes an agent of change against an anti-politics of isolation in the post-war society\" (126). Moreover, Pérez Díaz reflects upon the politics of translation, discussing her own cultural negotiations as a Puerto Rican, non-native English speaker who transits among Greek, Spanish, and English. Repositioning the linguistic imbalance that stems from colonial and neo-colonial projects, Pérez Díaz reclaims equal approximations to the act of translation. Her careful treatment of Watanabe's text is evident in the way she tries to convey his poetics—clear and down-to-earth, yet transcendental in his philosophic ruminations on the human condition—in the English version.&lt;/p&gt; &lt;p&gt;Pérez Díaz frames the side-by-side Spanish and English versions with two critical essays, the first one focused on the context of production and reception of Watanabe and Yuyachkani's &lt;em&gt;Antígona&lt;/em&gt;. The second one offers an aesthetic reading of the script, relying heavily on literary theory, particularly Gerard Genette's &lt;em&gt;Paratexts&lt;/em&gt;. While both essays offer valuable insights to readers not familiar with Latin American Antigones, their scope loses momentum due to the author's insistence on defending an aesthetic approach to the text rather than a historical-political one. Although Pérez Díaz correctly indicates the lack of critical studies on Watanabe's text, her theorization creates a false dichotomy between contexts of production/reception and literary aesthetics when they are particularly intertwined in the case of theatre practices. She consistently highlights the need to detach the text from its original context of emergence and performance in order to tap into \"proliferations and displacements of meaning\" (1","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581470","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":"Ignacio Solares, dramaturgo","authors":"Estela Leñero Franco","doi":"10.1353/ltr.2023.a917970","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917970","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; Ignacio Solares, dramaturgo &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Estela Leñero Franco &lt;/li&gt; &lt;/ul&gt; &lt;p&gt;En la noche del 24 de agosto de 2023, murió Ignacio Solares a los 78 años. Novelista, escritor de teatro, periodista, editor e impulsor de la cultura en el ámbito universitario, Solares fue un apasionado por la historia y las posibilidades literarias y dramatúrgicas a investigar. Escribió novelas para hablar de personajes como Felipe Ángeles (&lt;em&gt;La noche de Ángeles&lt;/em&gt;, 1991) y Francisco I. Madero (&lt;em&gt;Madero, el otro&lt;/em&gt;, 2000) y obras de teatro sobre el padre Pro, Plutarco Elías Calles y otras figuras históricas: &lt;em&gt;El jefe máximo&lt;/em&gt;, 1991; &lt;em&gt;El gran elector&lt;/em&gt;, 1993; &lt;em&gt;Tríptico&lt;/em&gt;, 1994, y &lt;em&gt;Los moc&lt;/em&gt;hos, 1997.&lt;/p&gt; &lt;p&gt;Su teatro histórico estuvo acompañado de su incansable actividad editorial y periodística. Fue periodista en la &lt;em&gt;Revista de Revistas&lt;/em&gt;, invitado por Vicente Leñero; fue jefe de redacción de &lt;em&gt;Plural&lt;/em&gt; y del suplemento cultural \"Diorama de la Cultura\", y director de la revista &lt;em&gt;Quimeras&lt;/em&gt;, de la sección cultural de &lt;em&gt;Siempre&lt;/em&gt; y de la &lt;em&gt;Revista de la Universidad&lt;/em&gt;. En teatro, no cejó en su obsesión por conjuntar la historia y la ficción, como en el caso de &lt;em&gt;Delirium tremens&lt;/em&gt;, adaptación teatral de su reportaje literario, dirigida por Antonio Crestani. En &lt;em&gt;Delirium&lt;/em&gt;, Solares da testimonio de 111 casos que padecen la enfermedad, de los cuales Crestani seleccionó cinco y los puso al desnudo para revelarle sus experiencias al reportero en escena y al espectador. &lt;strong&gt;[End Page 101]&lt;/strong&gt;&lt;/p&gt; &lt;br/&gt; Click for larger view&lt;br/&gt; View full resolution &lt;p&gt;Ignacio Solares. Fotógrafo: Octavio Gómez.&lt;/p&gt; &lt;p&gt;&lt;/p&gt; &lt;p&gt;Indagó los límites de lo documental y la recreación de personajes del pasado. Se adentró en la maravilla de reinventar la historia de México, elaborar hipótesis y volverla a contar. Él mismo retoma la frase de Valle Inclán que dice \"las cosas no son como las vivimos sino como las recordamos\". En el libro &lt;em&gt;Teatro histórico&lt;/em&gt;, publicado por la UNAM en 1996 en su serie La Carpa, Solares incluye cuatro obras en las que utiliza distintas estructuras dramatúrgicas para hablarnos de personajes con poder político en nuestro país, México, presidentes o candidatos y personajes ficticios, aunque identificables en el pasado nacional.&lt;/p&gt; &lt;p&gt;Las puestas en escena de sus primeras obras las llevó a cabo con un equipo de trabajo sólido que se adentró en su dramaturgia y encontró distintas formas de representarla. &lt;em&gt;El gran elector&lt;/em&gt; y &lt;em&gt;El jefe máximo&lt;/em&gt; fueron dirigidas por José Ramón Enríquez y &lt;em&gt;Tríptico&lt;/em&gt; por Antonio Crestani, quien también trabajó como actor en las dos primeras. Jesús Ochoa interpretó a Plutarco Elías Calles en &lt;em&gt;El jefe máximo&lt;/em&gt; y Miguel Flores fue el Padre Pro. Juntos debatieron y contrapuntearon con maestría el poder del E","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"114 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139590256","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":"Mexico City's Summer 2023 Theatre Season","authors":"Timothy G. Compton","doi":"10.1353/ltr.2023.a917966","DOIUrl":"https://doi.org/10.1353/ltr.2023.a917966","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; Mexico City's Summer 2023 Theatre Season &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Timothy G. Compton &lt;/li&gt; &lt;/ul&gt; &lt;p&gt;Each year, as I prepare to go to Mexico City, hoping to see the best the season's theatre offerings have to offer, I scour the internet for reviews and descriptions and schedules and venues. I also write to a fair number of people in the industry asking for recommendations. Some years I know that certain plays will be absolute must-sees. Such was not the case for the summer 2023 season—I learned of no consensus blockbuster, or anything close. And yet I found, among the abundant offerings, outstanding theatre. Some years I think back on what I saw and can easily choose one or two that towered far above all others—not so for me with the summer 2023 season. And yet I found nearly a dozen plays that were nearly flawless works of art, full of talent and creativity, and most of which portrayed something of importance about and/or for Mexican society. Women's issues figured prominently in about half, while women wrote more than half. Children's theatre also had a bigger role than usual in the season's best. The number of offerings far exceeded anyone's ability to see them all. The variety was astounding. Any number of excellent offerings from past seasons returned for new runs in new locales. Several of the plays I saw were sold out and I was turned away from another because it was full. I didn't see a single printed program, but most theatres provided programs you could download to your phone; I do miss the pre-pandemic days of printed programs. Significantly, I heard not a word about the pandemic; theatre in Mexico seems to have fully recovered from that catastrophic shutdown. Most theatre practitioners I spoke with are counting the days until a new administration takes over for President López Obrador, as he has slashed support of theatre, and of the arts in general, during his presidency. &lt;strong&gt;[End Page 65]&lt;/strong&gt;&lt;/p&gt; &lt;p&gt;Despite being a \"children's play,\" or perhaps because of it, &lt;em&gt;Trino&lt;/em&gt; has occupied my thoughts and musings more than any other of the season. Written by Paulina Soto Oliver and directed by Alberto Lomnitz, &lt;em&gt;Trino&lt;/em&gt; portrayed the story of an orphan boy in Santa María Tonantzintla, a town in Puebla known for its church—Mexico's finest example of baroque architecture. Raised by his godmother, he faced bullying due to smallpox scars. His godmother encouraged him to forego his practice of physical retribution and to instead try to identify with one of the myriad angels depicted in the church. Once he developed inner strength after being tutored by a supernatural wolf, he learned to look on his tormentors with understanding, treat them with compassion, and build bridges to them. Eventually he added pock marks to one of the church's angels to finally see a reflection of himself there. Masterful pup","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139581323","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}