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This book looks at Cuban and Argentine theater of the late 1960s and early 1970s to see how the idea of spectacle as violence was used to comment on and question the social and political violence that was unfolding offstage.
This book looks at Cuban and Argentine theater of the late 1960s and early 1970s to see how the idea of spectacle as violence was used to comment on and question the social and political violence that was unfolding offstage.
KATHERINE FORD, Assistant Professor of Hispanic Studies at East Carolina University, USA.
Inhaltsangabe
Introduction: Considering Dramatic Violence: The Caso Padilla and the Manipulation of a Public Spectacle Who's Afraid of Virgilio Piñera?: Construction of Violence through Fear in Dos viejos pánicos (1968) The Cobwebs of Memory: History made through Violence in Abelardo Estorino's La dolorosa historia del amor secreto de don José Jacinto Milanés (1974) Filming the Bourgeoisie: Defining Identity with Violence in Eduardo Pavlovsky's La mueca (1971) Disorderly Conduct: The Violence of Spectatorship in Griselda Gambaro's Información para extranjeros (1973) Transforming Spectacles
Introduction: Considering Dramatic Violence: The Caso Padilla and the Manipulation of a Public Spectacle Who's Afraid of Virgilio Piñera?: Construction of Violence through Fear in Dos viejos pánicos (1968) The Cobwebs of Memory: History made through Violence in Abelardo Estorino's La dolorosa historia del amor secreto de don José Jacinto Milanés (1974) Filming the Bourgeoisie: Defining Identity with Violence in Eduardo Pavlovsky's La mueca (1971) Disorderly Conduct: The Violence of Spectatorship in Griselda Gambaro's Información para extranjeros (1973) Transforming Spectacles
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