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Theaters of revolution: Staging Cub...

Prizant, Yael.

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Theaters of revolution: Staging Cuban identities after the Cold War.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Theaters of revolution: Staging Cuban identities after the Cold War./
Author:	Prizant, Yael.
Description:	243 p.
Notes:	Advisers: S. I. Salamensky; Leo Cabranes-Grant.
Contained By:	Dissertation Abstracts International68-07A.
Subject:	Fine Arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3272337
ISBN:	9780549130932

Theaters of revolution: Staging Cuban identities after the Cold War.
Prizant, Yael.

Theaters of revolution: Staging Cuban identities after the Cold War. - 243 p.

Advisers: S. I. Salamensky; Leo Cabranes-Grant.

Thesis (Ph.D.)--University of California, Los Angeles, 2007.

Cuba undoubtedly throws the mass produced capitalist world into revelatory relief, and, with it, our perceptions of drama and performance. This study examines how Cuban and Cuban-American playwrights give artistic form to an experiential encounter with revolution and portray its effects on postmodern identities. These readings of seven plays written since 1986 attempt to analyze tactics employed to foreground personal identifications within revolutionary constructions. The epoch of economic crisis in Cuba since the collapse of the Soviet Union (known as the Special Period), that has rendered these self-assessments imperative, significantly informs each play and molds each identity portrayed. The theatrical works, which incisively portray contemporary Cuba's revolutionary values, methods and tribulations, provoke crucial questions when examined using key theoretical frameworks from distinct but interrelated fields. Engaging the areas of contestation that emerge between these theoretical frameworks and the plays is the larger aim of this study. Definitions of revolution from linguistical, historical (mapped by the French Revolution and Cuban history), cultural (throughout Latin America), and ideological (Marxist or otherwise) perspectives that inspire a dialogue with Cuba's revolutionary experience are investigated first. The discourse surrounding notions of resistance and transgression (mainly as posed by James C. Scott, Chris Jenks and others) as well as those regarding globalization (such as works by Saskia Sassen, Michael Hardt and Antonio Negri), are then incorporated to directly probe the theatrical material. Theories on home and exile, including ideas about space, plurality and Cuba's future (most notably in the writings of Roman De la Campa, Nestor Garcia Canclini, and Edward Soja) intersect with the plays in the last sections of the study. Performance theories (especially those by Una Chaudhuri) have been blended throughout, when relevant to the work at hand. As a result, existing Cuban and Cuban-American identities are complicated, celebrated, extended, possibly poised to determined the island's future.

ISBN: 9780549130932Subjects--Topical Terms:

891065
Fine Arts.

Theaters of revolution: Staging Cuban identities after the Cold War.
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020 $a 9780549130932
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100 1 $a Prizant, Yael. $3 1267155
245 1 0 $a Theaters of revolution: Staging Cuban identities after the Cold War.
300 $a 243 p.
500 $a Advisers: S. I. Salamensky; Leo Cabranes-Grant.
500 $a Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2730.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2007.
520 $a Cuba undoubtedly throws the mass produced capitalist world into revelatory relief, and, with it, our perceptions of drama and performance. This study examines how Cuban and Cuban-American playwrights give artistic form to an experiential encounter with revolution and portray its effects on postmodern identities. These readings of seven plays written since 1986 attempt to analyze tactics employed to foreground personal identifications within revolutionary constructions. The epoch of economic crisis in Cuba since the collapse of the Soviet Union (known as the Special Period), that has rendered these self-assessments imperative, significantly informs each play and molds each identity portrayed. The theatrical works, which incisively portray contemporary Cuba's revolutionary values, methods and tribulations, provoke crucial questions when examined using key theoretical frameworks from distinct but interrelated fields. Engaging the areas of contestation that emerge between these theoretical frameworks and the plays is the larger aim of this study. Definitions of revolution from linguistical, historical (mapped by the French Revolution and Cuban history), cultural (throughout Latin America), and ideological (Marxist or otherwise) perspectives that inspire a dialogue with Cuba's revolutionary experience are investigated first. The discourse surrounding notions of resistance and transgression (mainly as posed by James C. Scott, Chris Jenks and others) as well as those regarding globalization (such as works by Saskia Sassen, Michael Hardt and Antonio Negri), are then incorporated to directly probe the theatrical material. Theories on home and exile, including ideas about space, plurality and Cuba's future (most notably in the writings of Roman De la Campa, Nestor Garcia Canclini, and Edward Soja) intersect with the plays in the last sections of the study. Performance theories (especially those by Una Chaudhuri) have been blended throughout, when relevant to the work at hand. As a result, existing Cuban and Cuban-American identities are complicated, celebrated, extended, possibly poised to determined the island's future.
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790 1 0 $a Salamensky, S. I., $e advisor
791 $a Ph.D.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3272337