Abstract Although nowadays barely remembered, the dancer and singer Consuelo Tamayo Hernández, “la Tortajada” (1867–1957), once was a Spanish performer of considerable talent. She was a diva skilled at self-fashioning who knew how to exploit her public image both on and off stage. Born in Santa Fe (Granada, Spain), Tortajada hardly ever performed in her country of birth. But although her presence on the Spanish stage was merely marginal, as a “Spanish dancer” she achieved celebrity status in the music halls of Europe and the United States. Tortajada perfectly exemplifies the mobility and cultural transfer that took place between the cosmopolitan stages at the end of the nineteenth and the beginning of the twentieth century. This article explores how Tortajada obtained international fame and success, not so much because of the authenticity of her performances—which were often contaminated by the music halls where she performed—but because of her ability to export a certain idea of Spanish “otherness” and “marginality” by staging a series of traditional movements and dances. It is by skillfully embodying a stereotype construction of “Spanishness” (elapsing it into an Oriental fantasy) and a certain type of femininity that the artist achieved international celebrity.

中文翻译：

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Exportando“marginalidad”：Consuelo Tamayo Hernández，“la Tortajada”（1867-1957）

摘要 虽然现在几乎不记得了，但舞蹈家兼歌手康苏埃洛·塔马约·埃尔南德斯 (Consuelo Tamayo Hernández，“la Tortajada” (1867-1957)）曾是一位才华横溢的西班牙表演者。她是一位擅长自我塑造的天后，她知道如何在舞台内外利用她的公众形象。Tortajada 出生在圣达菲（西班牙格拉纳达），几乎没有在她的出生国表演过。但尽管她在西班牙舞台上的存在只是边缘，但作为“西班牙舞者”，她在欧洲和美国的音乐厅中取得了名人地位。Tortajada 完美地体现了 19 世纪末和 20 世纪初国际化阶段之间发生的流动性和文化转移。本文探讨 Tortajada 如何获得国际声誉和成功，倒不是因为她表演的真实性——这些表演经常被她表演的音乐厅污染——而是因为她有能力通过上演一系列传统乐章和跳舞。正是通过巧妙地体现了“西班牙性”（将其转化为东方幻想）的刻板印象和某种女性气质，艺术家才获得了国际知名度。