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.
Author(s): Lillian Manzor
Series: Routledge Advances in Theatre & Performance Studies
Publisher: Routledge
Year: 2022
Language: English
Pages: 319
City: London
Cover
Endorsement
Half Title
Series Information
Title Page
Copyright Page
Table of Contents
Acknowledgments
Introduction / Introducción
Notes
References
1 Uno. “Mister, Don’t Touch the Banana”: Transculturation, Networks of Proximity, and US Cuban Theater
Miami, Cuba
The Cuban “Success” Narrative
The Chaos of Transculturation
US Cuban Cultural Production: Language and Ethnicity
Language: “Bilingual Blues”
Ethnicity
“No Soy De Aquí Ni Soy De Allá”
Notes
References
2 Dos. “Momento Renacentista”: US Cubans and Latine Off-Off-Broadway
Introduction
Off-Off-Broadway
María Irene Fornés’ La Viuda (The Widow)
Manuel Martín Jr. and Magali Alabau Latinize Off-Off-Broadway
Conclusion
Notes
References
3 Tres. “¡Ay Mama Inés!”: Gender, Ethnicity, Blackness, and Racism
Introduction
From Race to Racialization
From Blackness to “Feeling Brown”
Gender, Blackness, and Racism in Manuel Martín Jr.’s Rita and Bessie
Re-dressing the Ghost of Race in Cuban and US Stages: Jorge Ignacio Cortiñas’ Maleta Mulata
Conclusion
Notes
References
4 Cuatro. “La Vida En Rosa”: Carmelita Tropicana’s Performative Excess
Introduction
Performance Art: The Body as Text
“A Fine Samurai Machete”: Tropicana’s Campy “Choteo” and “Picuencia”
Memorias De La Revolución / Memories of the Revolution
From WOW and INTAR to Cuba, Los Angeles, and Back
With What Ass Does the Cockroach Sit / ¿Con Qué Culo Se Sienta La Cucaracha?
Conclusion
Notes
References
5 Cinco. “Todos Por Lo Mismo”: From Bridges to Greater Cuba
Introduction
Gestures Within the Big History of Cultural Heritage
First Gesture: Teatro Cubano Contemporáneo
Second Gesture: (Cancelled) Encuentro En La Habana
Third Gesture: Repertorio Español’s Revoltillo and CubaTeatro in New York
Fourth Gesture: The First International Monologue/Performance Festival in Miami
Fifth Gesture: Parece Blanca Or Coproducing the Tragedy of Cubanness
Futurity in Greater Cuba
Notes
References
Index
