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Outside Theater: Alliances That Shape Mexico by Stuart A. Day (review)
Theatre History Studies Pub Date : 2020-12-31 , DOI: 10.1353/ths.2020.0016
Sarah Alice Campbell

In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Outside Theater: Alliances That Shape Mexico by Stuart A. Day
  • Sarah Alice Campbell
Outside Theater: Alliances That Shape Mexico. By Stuart A. Day. Tucson: University of Arizona Press, 2017. Pp. viii + 224. $55.00, cloth.

Stuart A. Day in his Outside Theater: Alliances That Shape Mexico, argues that theatre and art offer the potential for social change. In his introduction, Day presents the concept of outside theatre in reference to the Spanish verb lindar. This verb informs his unique method of discussing plays; Day uses literary criticism to support and nurture an activist standpoint. His presentation of outside theatre becomes clearer as one reads beyond the introduction, which could benefit from providing readers with a more structured approach and a solid foundation of the concept of outside theatre. In the introduction, Day explores more thoroughly the idea of alliances. These alliances, he notes, “highlight the (mostly) positive forces emanating from one corner of the art world, and [. . .] offer concrete strategies from a variety of performances that promote individual and collective empowerment that can, in turn, promote a robust civil society” (23). The collaborations that Day explores might be “uncommon,” (5) but they provide an approach that can build solidarity in communities where it is needed most.

In the first chapter, Day explores Flavio González Mello’s play 1822: El año que fuimos imperio. Through a discussion of the jester role, seen in the character of Fray Servando Teresa de Mier, Day highlights the allyship between the jester figure and the audience. His invocation of the jester also connects with his conception of outside theatre, as the jester is “an outside agitator/ally who has access to insiders,” (53) and thus he navigates the “inside” world of the play while maintaining a connection to the outside: the audience. Day further connects the figure of the jester to another outsider, a contemporary clown and political commentator—Brozo el payaso tenebroso. Day’s analysis of the play becomes [End Page 243] stronger through this view of the outsider figure of the jester alongside Brozo, and his conception of outside theatre allows him to transcend the boundaries of what otherwise might be expected from textual analysis.

In chapter 2, Day explores the life and political service of Federico Gamboa alongside a reading of Gamboa’s play, La venganza de la gleba. Day reads the play as a work aligned with, but not quite, naturalism, wherein the character of don Francisco is analogous in many ways to Gamboa’s own activities within the government of Porfirio Díaz. Day calls attention to the acting and negotiation that both figures, don Francisco in the play and Gamboa in the government of Díaz, carry out. This reading provides nuance to both the study of the Porfiriato and Gamboa’s play, both of which, Day argues, are important to consider. Though less explicitly tied to the outside theatre thesis, one can see parallels in Day’s interpretation of don Francisco and Gamboa as insider-outsider figures like the jester figure, Teresa de Mier, explored in chapter 1.

In chapter 3, “Zoot Suit Allies and the ‘Arizona Law,’” Day explores Luis Valdez’s Zoot Suit, focusing on the landmark production in 2010 in Mexico City. Weaving together seemingly disparate pieces like the historic Sleepy Lagoon murder trial, the trial’s portrayal in the play Zoot Suit, the 2010 murder of Robert Krentz, Arizona’s SB1070, and the 2010 production of Zoot Suit in Mexico City, Day demonstrates the complexities of cross-border, cross-ethnic organizing in the 1940s, the early 2010s, and today. Day’s reading of the play through these historical events provides a positive outlook, while acknowledging the problematics, of such cross-racial and cross-border organizing. The chapter is complex because of the numerous parts Day brings together, but his clear writing style makes it very accessible, even if one has little knowledge of the historical events he discusses.

Chapter 4, “Moderating the ‘Ignorant Masses’ and the Emergence of Internet Allies,” focuses on the play 9 días de guerra en Facebook by Luis Mario Moncada. In this chapter, Day explores the text and the 2010 production at the National Autonomous...



中文翻译:

外剧院:斯图尔特·戴·戴(Stuart A. Day)塑造墨西哥的联盟(评论)

代替摘要,这里是内容的简要摘录:

审核人:

  • 外场:斯图尔特·A·戴(Stuart A. Day)塑造墨西哥联盟
  • 莎拉·爱丽丝·坎贝尔
外场:塑造墨西哥的联盟。斯图尔特·戴·戴(Stuart A. Day)。图森:亚利桑那大学出版社,2017年。viii +224。$ 55.00,布。

斯图尔特·戴·戴(Stuart A. Day)在他的外部剧院:《塑造墨西哥的联盟》中指出,剧院和艺术为社会变革提供了潜力。在他的简介中,Day结合西班牙动词lindar提出了外部剧院的概念。这个动词告诉他他讨论戏剧的独特方法。戴利用文学批评来支持和培育激进主义者的立场。随着人们对导言的深入阅读,他对剧场的介绍将变得更加清晰,这可以受益于为读者提供更结构化的方法以及对剧场概念的坚实基础。在引言中,Day更深入地探讨了联盟的概念。他指出,这些联盟“突出了从艺术世界的一个角落发出的(主要是)积极力量,并且[。。。]从各种表演中提供具体的策略,以促进个人和集体的权能,进而促进健全的公民社会”(23)。Day探索的合作可能是“罕见,

在第一章中,戴(Day)探索了弗拉维奥·冈萨雷斯·梅洛(FlavioGonzálezMello)的剧作《1822:Elañoque fuimos imperio》。通过对弗莱尔·塞尔万多·特蕾莎·德·米耶(Fray Servando Teresa de Mier)角色中小丑角色的讨论,Day突出了小丑角色与观众之间的同盟关系。他对小丑的援引也与他对剧院的构想有关,因为小丑是“可以与内部人接触的外部煽动者/同盟”(53),因此他在保持剧中联系的同时,在剧本的“内部”世界中导航。到外面:观众。Day进一步将小丑的形象与另一位局外人联系起来,他是当代的小丑和政治评论员-Brozo el payaso tenebroso。Day对剧本的分析成为[结束页243] 通过这种对小丑的局外人形象以及布罗佐的看法,他变得更强了,他对外部戏剧的理解使他超越了文本分析可能期望的界限。

在第2章中,Day探究了Federico Gamboa的生活和政治服务,并阅读了Gamboa的剧本《La venganza de la gleba》。Day将戏剧看做是与自然主义相吻合的作品,但并非完全如此,其中,唐·弗朗西斯科(Don Francisco)的性格在许多方面都类似于冈波亚(PamborioDíaz)在政府内部的活动。Day呼吁大家注意戏剧中的唐·弗朗西斯科(Don Francisco)和迪亚兹(Díaz)政府中的冈巴(Gamboa)这两个人物所进行的表演和谈判。这种读法对波尔菲里亚托和甘博阿的戏剧的研究都提供了细微差别,戴认为,这两者都是重要的考虑因素。尽管与外部剧院的论点联系不那么明确,但人们可以在Day对Don Francisco和Gamboa的解释中看到相似之处,如小丑人物Teresa de Mier等在第1章中探讨的局内人-外人。

Day在第3章“ Zoot Suit的盟友和《亚利桑那州法律》”中,探讨了路易斯·瓦尔迪兹(Luis Valdez)的Zoot Suit,着重介绍了2010年在墨西哥城具有里程碑意义的生产。编织看似截然不同的作品,例如历史悠久的“沉睡泻湖”谋杀案审判,该剧在《动物园套装》中的写照,2010年谋杀的罗伯特·肯特兹,亚利桑那州的SB1070以及2010年制作的《动物园套装》Day在墨西哥城展示了1940年代,2010年代初以及今天的跨国界,跨种族组织的复杂性。Day通过这些历史事件对剧本的阅读提供了积极的前景,同时也承认了这种跨种族和跨境组织的问题。由于Day参与了众多部分,因此本章很复杂,但是即使他对所讨论的历史事件一无所知,他清晰的写作风格也使该章很容易理解。

第4章“缓和'无知的群众'和互联网盟友的出现”,着重介绍路易斯·马里奥·蒙卡达(Luis Mario Moncada)创作的《 Facebook的第9点》。在这一章中,Day探索了国家自治团体的文字和2010年的作品。

更新日期:2020-12-31
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