8/12/2019 792-911-1-PB

1/9

LATINAMERICANTHEATREREVIEW

a Journal devoted tothe Theatre and Drama

of Spanish and PortugueseAmerica

EditorAssociate EditorAssistant EditorsBook Review EditorEditorial AssistantEditorial Board

George WoodyardVicky UnruhWilliam R. BlueRaymond D. SouzaKirsten F. NigroBrenda Krebs

Michael L. DoudoroffJon S. Vincent

Severino Joo AlbuquerqueJudith Ishmael BissettJacqueline Eyring BixlerBecky BolingPedro Bravo-ElizondoRonald D. BurgessSusana D. CastilloSandra Messinger CypessFrank DausterMiriam Balboa EcheverraMerlin H. ForsterC. Lucia GaravitoTmara HolzapfelJorge Huerta

Nicols KanellosAlyce de KuehneCatherine LarsonRamn LayeraSharon MagnareUiPriscilla MelndezRobert J . MorrisKirsten F. NigroWilliam I. OliverMargaret Sayers PedenL. Howard QuackenbushJoan ReaBonnie H. ReynoldsDiana Taylor

Jos Juan Arrom Edi to rs EmeritiJohn S. Brushwood Fredric M. Lit toPublisher

Center of Latin American StudiesThe University of KansasJon S. Vincent, Director

ProductionHall Center for the HumanitiesThe University of KansasAndrew P. Debicki, Director

Subscription inform ation: Individuals, $15.00 per year. Institutions, $30.00 per year. M ostback issues available; write for price list.Please direct all business correspondence to: Latin Am erican Theatre Review, The Centerof Latin American Studies, The University of Kansas, Lawrence, Kansas 66045.Where possible, manuscripts accepted for publication are requested on diskette labeled by

program and title, Word Perfect preferred.

8/12/2019 792-911-1-PB

2/9

LATINAMERICAN OO iTHEATRE O IREVIEW FALL1989Contents

La danza de la pirmide: Historia, exaltacin y crtica delas nuevas tendencias del teatro en MxicoFernando delta 9

Violence and the Sacred in a Den of ThievesBonn ie H. R eynolds 19Teatralidad popular en Argentina:Coexistencia de mltiples manifestacionesBeatriz Seibel 27Vctimas y victimarios: C mplices del discurso del poder enUna noche con elSr. M agnus e hijos de Ricardo MontiRoberto PrevidiFroelich 37Language in/as Action in Egon WolfPs Habame de LauraJacqueline Eyring ixler 49Buried Treasure: The Theatre of Constancio SurezR. A. Kerr 63Teyocoyani and the Nicaraguan Popular TheatreJudith A. Weiss 71The Theatre of Grgor DazRobertJ . Morris 79La proyeccin teatral de la masacre de las bananerasM ara M ercedes de Velasco 89Gabriela: Personaje dramtico, personaje teatralIsis Quinteros 103Directoras de escena novohispanas del siglo XVIIJaime ChabaudMagnus I l l

COPYRIGHT 1989 BY THE CENTER OF LATIN AMERICAN STUDIESTHE UNIVERSITY OF KANSAS, LAWRENCE, KANSAS 66045, U.SA.

8/12/2019 792-911-1-PB

3/9

2 LATIN AMERICAN THEATRE REVIEWDinmica dramtica en Omar y los dems de Franklin DomnguezDaniel Zalacan 119El jefe de la familia: Te atr o costumbrista y la sociedad chilenade su tiempoPedro Bravo-Elizondo 127Sergio Arrau, el dramaturgo ignoradoPedro Bravo-Elizondo 135An Interview with Carlos MortonLee A. Daniel 143Tercer festival latinoamericano de teatro en CrdobaCarlos Pacheco 151Book Reviews 155

AbstractsFernando de Ita, "La danza de la pirm ide: Historia, exaltacin y crticade las nuevas tendencias del teatro en Mxico."

The most recent developments in Mexican theatre have their roots not only in innovative dramaturgy by the Contemporneos and by Usigli but also in radical staging and performance experiments realized by Japanese director Seki Sano and by the late 1950s groupPoesa en Voz Alta, as well as in the 1980s shift from a regional to cosmopolitan dramaturgy.The most significant directions in recent Mexican theatre include Vicente Leero's"hyperealism"; the elaboration of an Artaudian style total theatre by directors Mendoza,Gurrola and Margulis and their followers; N icols Nun ez's paratheatrical TeatroParticipativo, shaped by Jerzy Grotowski's and Eugenio Barba's concepts of the ThirdTheatre and the performer, and the Teatro Personal elaborated by young theatre workerswhose mass media formation has been more cinematographic than theatrical. Th e 1990scould bring the golden age of Mexican theatre, because Mexico's young theatre workers nowact autonomously to accomplish what the country's cultural institutions can or will not do.Bonnie H. Reynolds, "Violence and the Sacred in a Den of Thieves/

In Roberto Ramos-Perea's dramatic works, which have developed within the secondcycle of what has been called "New Puerto Rican Dramaturgy," violence plays a major role.The author's stance in respect to violence is a paradoxical one since, despite the fact thatviolence is a major staging device, the critical point of view that Ramos-Perea communicatesis one of antiviolence. A closer look at his play, Cueva de ladrones Revolucin en elParadis) illuminates the author's position concerning violence and helps to clarify theperspective from which vio lenc e enters his theatrical world. Ram os-Pere a's approach toviolence in this play closely corresponds to Rene Girards' observations in Violence and theSacred. Th e latter distinguish es betw een sacrificial, essentially positive violen ce, and harmfulviolence saying that the beneficial variety benefits the primitive community by keeping under

8/12/2019 792-911-1-PB

4/9

8/12/2019 792-911-1-PB

5/9

8/12/2019 792-911-1-PB

6/9

FALL 1989 5result of a collective project, incorporated visual, musical and choreographic elements,transforming a schematic text into an espectculo teatral. (In Spanish) (IQ )

Daniel Zalacan, "Dinmica dramtica en Omary los dems de FranklinDomnguez."This highly symbolic drama utilizes its languages of expression in order to createspaces where multiple transformative processes take place. The scenic space (discourse,lighting, sound, decor) originates and functions as a sign which evokes in the audience's mindother dramatic spaces: interior, mythic and historic. The multiplex character of the playmakes it possible for the message to be transmitted poetically from different spaces anddimensions, forming simultaneously a network of signs and signifiers which support thetheatrical linkage. The scenic space produces an image of deformation, chaos, suffering andviolence which relates both to a mimetic space of the outside reality as well as to the abstractone of an interior reality. The mythic space unfolds interwoven to the scenic and in teriorspaces, and it is filled with the mythological image projected by Omar, a god-man figure whoportrays an unfulfilled modern Prom etheus.Pedro Bravo-Elizondo,* El jefe de la familia.11Alberto Blest Gana, a well-known Chilean novelist, wroteE l jefe de la familia whichhas been categorized as Chile's first costumbrist play. This article shows the close tiesbetween this comedy and the society of its time. It studies the compromise between the textand its author's esthetic position, as he rejects European models and accents instead nationalvalues through use ofcostumbrismo.(In Spanish) (PBE: DJC)Pedro Bravo-Elizondo, "Sergio Arrau, el dramaturgo ignorado."Sergio Arrau Castillo (1928), Chilean dramatist, director and actor currently residingin Peru, has developed a substanical body of theatrical works which are being enjoyed inboth the country of his birth and the country in which he presently lives. In Peru more than100 of his works have been brought to life on the stage. In the interview which follows hehas summarized for his public a number of his ideas about his own artistic development, themethodolgy of writing for the theatre, the role of the writer in Latin America, thesignificance of the various rewards he has received, his experiences in the theatre during theUnidad Popular regime in Chile and general impressions which he has about the his art.(In Spanish) (PBE: BLK)

8/12/2019 792-911-1-PB

7/9

8/12/2019 792-911-1-PB

8/9

8/12/2019 792-911-1-PB

9/9

S LATIN AMER ICAN THEATRE REVIEWTEATRO DE LA CAMPANA

Sociedad sin fines de lucroEn Buenos Aires, en los ltimos dos aos, han desaparecido unas quince salas dedicadasal teatro de arte. En las ms an tiguas fue don de se inici la generacin prese nte de artistasque ocupan los puestos de privilegio en el teatro de Argentina; y donde los jvenes de hoyhicieron su aprendizaje para ocupa r los pues tos d e importancia para maan a. Sin esta s salasjams existir la posibilidad de experimentacin artstica para los futuros directores,dramaturgos y actores de este arte.Los tiempos de la eficiencia y del practicismo barrieron con la mayora de esos espacios;los pocos que han sobrevivido se vienen soportando en el juego de la oferta y la demanda con

el dinero que viene del mundo del espectculo o, an peor, de la pornografa.Y el Estad o no ayuda tamp oco. En el pasado nada se le podia pedir porque casi siempretena el rostro de un militar que llevaba su mano a la cartuchera cada vez que escuchaba lapalabra "teatro." Cuan do vin o por fin el turn o de la dem ocracia, el teatro no tena e l hb itode pelear contra el Estado y, cuando fue a pedir de buenas maneras, le dijeron que no habadinero.Entre las salas que an, miraculosamente, quedan abiertas est el Teatro de la Campana.Creado a comienzos de 1987 en el mismo espacio fsico que alberg, durante cuarenta aos, alTeatro del Pueblo (el primer teatro independ iente de Argentina y de Amrica Latina), el Teatrode la Campana ha venido a representar una dedicacin indmita al arte teatral.Hasta este momento el Teatro de la Campana pudo subsistir porque se estructur comouna sociedad sin fines de lucro donde la mayor parte del trabajo se hace en forma voluntaria.En octubre de 1988 tuvo su primera crisis econm ica que sob revivi gracias al esfuerzo de m sde mil personas que aportaron una cuota mensual equivalente al costo de una localidad.En enero de este ao la supervincia de la sala estaba asegurada. Pero no con tbamoscon la crisis econmica que ocurri en febrero y abril cuando en Argentina el peso se devalu600 por ciento. Qu ienes condu cen el Tea tro de la Campana, en su mayor parte cincuentonespasados, han atravesado etapas difciles-y as no tienen miedo ni del gobierno militar, ni deltrabajo duro que va a venir.Pero la lucha contra los banqu eros es una que no permite victoria. El Tea tro de laCampana no quiere que la gente comn tenga que soportar un aumento en el precio de unasuscripcin a un teatro. Sera co m o darle razn a los banqueros.El precio de una suscripcin mensual al Teatro d e la Campana no alcanza al med io dlar.En Buenos Aires hay muchsimos espectadores que no disponen de esa cifra para comprar algoque no es necesario al alimento.Hay quienes han titulado de nostlgicos del teatro independiente a los que no quierenque el Teatro d e la Campana desaparezca, que muera para siempre. Este s idealistas del Teatrode la Campana responden que s . . . Ha llegado el tiempo de ser nostlgico . . . Ha llegado eltiempo de luchar para lo ideal otra vez . . . Ha llegado el tiemp o para unir la belleza con laresistencia.

Para colaborar con el TLC pueden enviarse cheques o valores a nombre de:Jos BoveDiagonal Norte 943(1035) Buenos AiresA R G E N T I N A