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Cubanidad and the performance of bla...

Ruf-Maldonado, Elizabeth.

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Cubanidad and the performance of blackness in the theater of Cuba's "special period".

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Cubanidad and the performance of blackness in the theater of Cuba's "special period"./
作者:	Ruf-Maldonado, Elizabeth.
面頁冊數:	215 p.
附註:	Adviser: Julie Stone Peters.
Contained By:	Dissertation Abstracts International67-03A.
標題:	Black Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3209375
ISBN:	9780542579226

Cubanidad and the performance of blackness in the theater of Cuba's "special period".
Ruf-Maldonado, Elizabeth.

Cubanidad and the performance of blackness in the theater of Cuba's "special period". - 215 p.

Adviser: Julie Stone Peters.

Thesis (Ph.D.)--Columbia University, 2006.

A startling transformation occurred in Cuban theater in the years immediately following the decline of socialist Europe, the years Cuba officially dubbed the "special period." The erudite theater of academy-trained professionals, which had begun to share a space with theatrical experiments with form in the 1980s, gave way in many cases in the 1990s to theater marked by a popular cubanidad (briefly, the expression of a Cuban national culture). Cubanidad is often envisioned (though less often overtly acknowledged) to be reflective of legacies of Cuba's African heritage. The rhythms and performative rituals of Afrocuban religions lie at the roots of Cuban popular music and the musical vernacular forms that many Cuban theater groups incorporated into their performative dramaturgies in the 1990s. This thesis will explore previously unmapped links and tensions between Afrocuban musical-liturgical expression in Cuba and the subversive, parodic, and sometimes derogatory depictions of blackness in Cuban theater. Although I employ the term "vernacular theater" to refer to a variety of popular and commercial entertainments (including musical revue, burlesque, and cabaret arts) in Cuba the term teatro vernaculo is often used interchangeably with the term teatro bufo. The resurrection in the 1990s of the musical blackface performance of the historic teatro bufo, a genre often associated with early assertions of Cuban nationalism but characterized by the enactment of stereotypes seemingly incompatible with a revolutionary society, provided Cuban theater artists with a vocabulary for parodic socio-political critique.

ISBN: 9780542579226Subjects--Topical Terms:

1017673
Black Studies.

Cubanidad and the performance of blackness in the theater of Cuba's "special period".
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502 $a Thesis (Ph.D.)--Columbia University, 2006.
520 $a A startling transformation occurred in Cuban theater in the years immediately following the decline of socialist Europe, the years Cuba officially dubbed the "special period." The erudite theater of academy-trained professionals, which had begun to share a space with theatrical experiments with form in the 1980s, gave way in many cases in the 1990s to theater marked by a popular cubanidad (briefly, the expression of a Cuban national culture). Cubanidad is often envisioned (though less often overtly acknowledged) to be reflective of legacies of Cuba's African heritage. The rhythms and performative rituals of Afrocuban religions lie at the roots of Cuban popular music and the musical vernacular forms that many Cuban theater groups incorporated into their performative dramaturgies in the 1990s. This thesis will explore previously unmapped links and tensions between Afrocuban musical-liturgical expression in Cuba and the subversive, parodic, and sometimes derogatory depictions of blackness in Cuban theater. Although I employ the term "vernacular theater" to refer to a variety of popular and commercial entertainments (including musical revue, burlesque, and cabaret arts) in Cuba the term teatro vernaculo is often used interchangeably with the term teatro bufo. The resurrection in the 1990s of the musical blackface performance of the historic teatro bufo, a genre often associated with early assertions of Cuban nationalism but characterized by the enactment of stereotypes seemingly incompatible with a revolutionary society, provided Cuban theater artists with a vocabulary for parodic socio-political critique.
520 $a This study is the first to consider a broad range of Cuban theater genres in the 1990s, both amateur and professional, in the context of a performance of blackness, and in dialogue with recent developments in the fields of performance and cultural studies. It is guided by the question: Why and in what ways has the performance of an Afrocuban heritage rooted in ritual been accorded the role of an instrument for encountering economic crisis and foreign commercialism? This thesis proposes theoretical frameworks for assessing a body of theatrical production largely unfamiliar outside of Cuba and, thus, offers comparative perspectives on historic traditions as well as emerging trends of world theater.
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