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Politics and violence in Cuban and A...

Ford, Katherine.

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Politics and violence in Cuban and Argentine theater

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Politics and violence in Cuban and Argentine theater/ Katherine Ford.
作者:	Ford, Katherine.
出版者:	New York, NY :Palgrave Macmillan, : 2010.,
面頁冊數:	xxii, 219 p.
內容註:	Preface : understanding the place of theater in Spanish America -- Introduction: Difficult times : considering dramatic violence -- Who's afraid of Virgilio Piänera? : violence and fear in Dos viejos pâanicos (1968) -- Cbwebs of memory : history made with violence in Abelardo Estorino's La dolorosa historia del amor secreto de don Josâe Jacinto Milanâes (1974) -- Filming the bourgeoisie : defining identity with violencein Eduardo Pavlovsky's La mueca -- Disorderly conduct: the violence ofspectatorship in Griselda Gambaro's Informaciâon para extranjeros (1973) -- Conclusion: Transformingspectacles.
標題:	Argentine drama - History and criticism. - 20th century -
標題:	Argentinien -
電子資源:	http://link.springer.com/10.1057/9780230105225access to fulltext (Palgrave)
ISBN:	023010522X

Politics and violence in Cuban and Argentine theater
Ford, Katherine.

Politics and violence in Cuban and Argentine theater[electronic resource] /Katherine Ford. - 1st ed. - New York, NY :Palgrave Macmillan,2010. - xxii, 219 p.

Includes bibliographical references (p. [205]-213) and index.

Preface : understanding the place of theater in Spanish America -- Introduction: Difficult times : considering dramatic violence -- Who's afraid of Virgilio Piänera? : violence and fear in Dos viejos pâanicos (1968) -- Cbwebs of memory : history made with violence in Abelardo Estorino's La dolorosa historia del amor secreto de don Josâe Jacinto Milanâes (1974) -- Filming the bourgeoisie : defining identity with violencein Eduardo Pavlovsky's La mueca -- Disorderly conduct: the violence ofspectatorship in Griselda Gambaro's Informaciâon para extranjeros (1973) -- Conclusion: Transformingspectacles.

This book examines how violence was used as a spectacle in Cuban andArgentine theater in the late 1960s and early 1970s as a reflection ofand a dialogue with the violence occurring in the public arena. Using the international affair of the Caso Padilla as a way to appreciate howthe notion of revolutionary spectacle pertains to culture, Ford deftlyexamines the use of violence in four plays from Cuba and Argentina to understand how simulated violence was used as a tool to address the very real violence that was taking place offstage.

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2010.

Mode of access:World Wide Web.

ISBN: 023010522XSubjects--Topical Terms:

1246345
Argentine drama
--History and criticism.--20th centurySubjects--Geographical Terms:

1246343
Argentinien
Index Terms--Genre/Form:

542853
Electronic books.

LC Class. No.: PQ7381 / .F67 2010

Dewey Class. No.: 862/.6093581

Politics and violence in Cuban and Argentine theater
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505 0 $a Preface : understanding the place of theater in Spanish America -- Introduction: Difficult times : considering dramatic violence -- Who's afraid of Virgilio Piänera? : violence and fear in Dos viejos pâanicos (1968) -- Cbwebs of memory : history made with violence in Abelardo Estorino's La dolorosa historia del amor secreto de don Josâe Jacinto Milanâes (1974) -- Filming the bourgeoisie : defining identity with violencein Eduardo Pavlovsky's La mueca -- Disorderly conduct: the violence ofspectatorship in Griselda Gambaro's Informaciâon para extranjeros (1973) -- Conclusion: Transformingspectacles.
520 $a This book examines how violence was used as a spectacle in Cuban andArgentine theater in the late 1960s and early 1970s as a reflection ofand a dialogue with the violence occurring in the public arena. Using the international affair of the Caso Padilla as a way to appreciate howthe notion of revolutionary spectacle pertains to culture, Ford deftlyexamines the use of violence in four plays from Cuba and Argentina to understand how simulated violence was used as a tool to address the very real violence that was taking place offstage.
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