This article examines how the musical interlude operates in Rumbo a Brasi lia (No importa mi color) (1961) and Pecado de juventud (1962), two understudied Mexican melodramas concerned with racial and class discord. While Mexican domestic melodramas filmed in the sixties pared down the incorporation of musical numbers, these song and dance breaks remained a fundamental element of the melodrama genre. i argue that these films’ musical numbers illuminate the changing narrative role of the obligatory sonic interlude. in both Rumbo and Pecado, spectatorship does not function to refold the alienated protagonist back into the collective fold of the listening group, but exacerbates their symbolic isolation. Outsiders looking in, these characters remain separate from the exuberant space of song and dance, able to listen but excluded from participation. Contemporary usage of the term “melodrama” invokes sensationalist theatrics, moral polarization, and emotional excess. Peter Brook’s influential study, The Melodramatic Imagination, argued that this aesthetic of exaggeration functioned to transform the ordinary into something so entertaining that the audience would pay attention to the stakes of everyday life (10). in eighteenthand nineteenth-century theater, melodrama referred to the pairing of theatrical drama with musical accompaniment – melos, the Greek word for music. This structural coupling of narrative with music became central to early hollywood and Latin American cinemas. Musical numbers interrupted the unfolding narrative in order to reinforce character development and emotional texture, or simply to entertain through tone and rhythm. While the centrality of music has largely died off in twenty-first century iterations of Latin American melodrama, in the twentieth century, diegetic music played a fundamental role in what Darlene sadlier describes as the region’s “populist mode par excellence” (15).

中文翻译：

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1960年代的音乐插曲：墨西哥情节剧：精心打造声波排斥空间

本文探讨了音乐插曲在巴西利亚的《 Rumbo a Brasi lia（No importa mi color）》（1961年）和《 Pecado de juventud》（1962年）中是如何运作的，这两个关于种族和阶级不和谐的墨西哥情节剧被低估了。六十年代拍摄的墨西哥国内情节剧减少了音乐数字的融合，但这些歌舞表演仍然是情节剧类型的基本要素。我认为这些电影的音乐数字说明了强制性音速插曲在叙事中的作用。在Rumbo和Pecado中，观众的角色都无法将疏远的主角重新折回听众群体的集体视野，但加剧了他们的象征性隔离。局外人注视着这些角色，它们与繁华的歌舞空间保持分离，能够听，但无法参与。当代使用“情节剧”一词引起了耸人听闻的戏剧，道德两极分化和情绪过度。彼得·布鲁克（Peter Brook）的有影响力的研究《戏剧想象力》（The Melodramatic Imagination）认为，这种夸张的美学作用将普通人变成了一种有趣的东西，以致于观众会注意到日常生活的重中之重（10）。在十九世纪八十年代的剧院中，情节剧指的是戏剧戏剧与音乐伴奏的配对-梅洛斯，希腊语为音乐。叙事与音乐的这种结构性结合成为早期好莱坞和拉丁美洲电影的中心。音乐数字打断了正在展开的叙事，以增强角色发展和情感质感，或者仅仅是为了通过音调和节奏进行娱乐。