- 308 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
About this book
This study is an exploration of US Cuban theatrical performances written and staged primarily between 1980 and 2000.
Lillian Manzor analyzes early plays by Magali Alabau, Jorge Ignacio Cortiñas, María Irene Fornés, Eduardo Machado, Manuel Martín Jr., and Carmelita Tropicana as well as these playwrights' participation in three foundational Latine theater projects --INTAR's Hispanic Playwrights-in-Residence Laboratory in New York (1980-1991), Hispanic Playwrights Project at South Coast Repertory Theater in Costa Mesa, CA (1986-2004), and The Latino Theater Initiative at Center Theater Group's Mark Taper Forum in Los Angeles (1992-2005). She also studies theatrical projects of reconciliation among Cubans on and off the island in the early 2000s. Demonstrating the foundational nature of these artists and projects, the book argues that US Cuban theater problematizes both the exile and Cuban-American paradigms. By investigating US Cuban theater, the author theorizes via performance, ways in which we can intervene in and reformulate political and representational positionings within the context of hybrid cultural identities.
This book will of great interest to students and scholars in Performance Studies, Transnational Latine Studies, Race and Gender studies.
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Information
Table of contents
- Cover
- Half Title
- Series Page
- Title Page
- Copyright Page
- Table of Contents
- Acknowledgments
- Introduction / Introducción
- 1 Uno. “Mister, Don’t Touch the Banana”: Transculturation, Networks of Proximity, and US Cuban Theater
- 2 Dos. “Momento renacentista”: US Cubans and Latine Off-Off-Broadway
- 3 Tres. “¡Ay mama Inés!”: Gender, Ethnicity, Blackness, and Racism
- 4 Cuatro. “La vida en rosa”: Carmelita Tropicana’s Performative Excess
- 5 Cinco. “Todos por lo mismo”: From Bridges to Greater Cuba
- Index