This article presents a practical approach to teaching Mexican political cabaret theatre in the US. It starts with a brief overview of the reasons why the movement begun to flourish in the 80s, as well as its connections to tent theatre (carpa), and musical revue theatre from the early 20th century. While it is impossible to state a single approach to the teaching and practice of contemporary Mexican cabaret—as multiple actors and troupes have developed their own approaches—their common traits are indicated here. The starting point is a workshop the authors took with Nora Huerta and Cecilia Stores at Mexico’s National Center for the Arts in August 2015. Ms. Huerta and Ms. Stores are actresses/directors belonging to the well-known Las Reinas Chulas (Cute Little Queens) cabaret troupe. The article ends by offering examples of sketches dealing with US political hegemony by significant Mexican cabaret artists. These may be of interest for US artists and faculty members interested in teaching Mexican political cabaret in particular and Latin American theatre in general.

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教授墨西哥政治歌舞表演的实用方法

本文提出了一种在美国教授墨西哥政治歌舞表演的实用方法。首先简要概述了运动在80年代开始蓬勃发展的原因，以及与20世纪初期的帐篷剧院（carpa）和音乐剧剧院的联系。虽然不可能陈述一种针对当代墨西哥歌舞表演的教学和实践的单一方法（由于多个演员和团体已发展出他们自己的方法），但此处显示了它们的共同特征。起点是作者于2015年8月在墨西哥国家艺术中心与Nora Huerta和Cecilia Stores共同举办的研讨会。Huerta女士和Stores是著名的Las Reinas Chulas（可爱的小皇后乐队）的女演员/导演。 ）歌舞表演团。文章最后提供了一些重要的墨西哥歌舞表演艺术家处理美国政治霸权的素描实例。这些可能对有兴趣教授墨西哥政治歌舞表演，尤其是拉丁美洲戏剧的美国艺术家和教职员工感兴趣。