Staging words, performing worlds intertextuality and nation in contemporary Latin American theater PDF
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Staging Words, Performing Worlds .................16165$ $$FM 11-13-0608:08:28 PS PAGE1 TheBucknellStudiesin LatinAmericanLiteratureandTheory SeriesEditor:An´ıbal Gonza´lez,PennsylvaniaStateUniversity Dealing with far-reaching questions of history and modernity, language and selfhood,andpowerandethics,LatinAmericanliteratureshedslightonthemany- faceted nature of Latin American life, as well as on the human condition as a whole. This series of books provides a forum for some of the best criticism on LatinAmericanliteratureinawiderangeofcriticalapproaches,withanemphasis on works that productively combine scholarship with theory. Acknowledging the historical links and cultural affinities between Latin American and Iberian litera- tures,theserieswelcomesconsiderationofSpanishandPortuguesetextsandtop- ics,whilealsoprovidingaspaceofconvergenceforscholarsworkinginRomance studies,comparativeliterature,culturalstudies,andliterarytheory. TitlesinSeries Silvia N. Rosman, Being in Common: Nation, Subject, and Community in Latin AmericanLiteratureandCulture Patrick Dove, The Catastrophe of Modernity: Tragedy and the Nation in Latin AmericanLiterature JamesJ.Pancrazio,TheLogicofFetishism:AlejoCarpentierandtheCubanTradi- tion FrederickLuciani,LiterarySelf-FashioninginSorJuanaIne´sdelaCruz SergioWaisman,BorgesandTranslation:TheIrreverenceofthePeriphery StuartDay,StagingPoliticsinMexico:TheRoadtoNeoliberalism AmyNaussMillay,Voicesfromthefuenteviva:TheEffectofOralityinTwentieth- CenturySpanishAmericanNarrative J.AndrewBrown,TestTubeEnvy:ScienceandPowerinArgentineNarrative JuanCarlosUbilluz,SacredEroticism:GeorgesBatailleandPierreKlossowskiin theLatinAmericanEroticNovel Mark A. Herna´ndez, Figural Conquistadors: Rewriting the New World’s Discov- eryandConquestinMexicanandRiverPlateNovelsofthe1980sand1990s GabrielRiera,LittoraloftheLetter:Saer’sArtofNarration Dianne Marie Zandstra, Embodying Resistance: Griselda Gambaro and the Gro- tesque Amanda Holmes, City Fictions: Language, Body, and Spanish American Urban Space GailA.Bulman,StagingWords,PerformingWorlds:IntertextualityandNationin ContemporaryLatinAmericaTheater AnneLambert,CratingtheHybridIntellectual:Subject,Space,andtheFeminine intheNarrativeofJose´ Mar´ıaArguedas DaraE.Goldman,OutofBounds:Islands andtheDemarcationofIdentityin the HispanicCaribbean http://www.departments.bucknell.edu/univ_press .................16165$ $$FM 11-13-0608:08:28 PS PAGE2 Staging Words, Performing Worlds Intertextuality and Nation in Contemporary Latin American Theater Gail A. Bulman Lewisburg Bucknell University Press .................16165$ $$FM 11-13-0608:08:29 PS PAGE3 (cid:2)2007byRosemontPublishing&PrintingCorp. Allrightsreserved.Authorizationtophotocopyitemsforinternalorpersonaluse, ortheinternalorpersonaluseofspecificclients,isgrantedbythecopyrightowner, providedthatabasefeeof$10.00, pluseightcents perpage,percopy ispaiddi- rectly to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, Massa- chusetts01923.[0-8387-5676-X/07$10.00(cid:3)8¢pp,pc.] AssociatedUniversityPresses 2010EastparkBoulevard Cranbury,NJ08512 ThepaperusedinthispublicationmeetstherequirementsoftheAmerican NationalStandardforPermanenceofPaperforPrintedLibraryMaterials Z39.48-1984. LibraryofCongressCataloging-in-PublicationData Bulman,GailA.,1957– Stagingwords,performingworlds:intertextualityandnationin contemporaryLatinAmericantheater/GailA.Bulman. p. cm. Includesbibliographicalreferencesandindex. ISBN-13:978-0-8387-5676-8(alk.paper) ISBN-10:0-8387-5676-X(alk.paper) 1.SpanishAmericandrama—20thcentury—Historyandcriticism. 2.Nationalcharacteristics,LatinAmerican,inliterature. 3.Theater —LatinAmerica. I.Title. PQ7082.D7B85 2007 862(cid:2).609328—dc22 2006027656 printedintheunitedstatesofamerica .................16165$ $$FM 11-13-0608:08:30 PS PAGE4 For Peter—lover, friend, research assistant For Jerry, Michael, and Laura—the reasons for everything .................16165$ $$FM 11-13-0608:08:30 PS PAGE5 .................16165$ $$FM 11-13-0608:08:30 PS PAGE6 Contents Acknowledgments 9 Introduction 15 1. Unraveling National Threads: Redirecting Mexico’s Master Scripts 39 V´ıctor Hugo Rasco´n Banda’s La Malinche: Metatheater, Performance, and Myth 41 History and Text, History as Text: Maruxa Vilalta’s En blanco y negro: Ignacio y los jesuitas 71 2. Traders or Traitors? Twisted Images and Venezuela’s Deception 95 Ce´sar Rengifo’s Un fausto anda por la avenida 96 Ne´stor Caballero’s Con una pequen˜a ayuda de mis amigos 107 3. Texts without Exit: Rewriting Argentina’s Labyrinth 122 Point of View and the Becoming of Pavlovsky’s Porotos 123 Rafael Spregelburd’s La Heptalog´ıa de Hieronymus Bosch: I, II, III 153 4. Cuba, Myth, and Transnational Revisions of Nation 194 Jose´ Corrales and Manuel Pereiras’s Las hetairas habaneras 196 Rau´l de Ca´rdenas’s Un hombre al amanecer 208 Pedro Monge’s Otra historia 224 Conclusion: Performance and National Myths 233 Notes 240 References 260 Index 269 7 .................16165$ CNTS 11-13-0608:08:30 PS PAGE7 .................16165$ CNTS 11-13-0608:08:31 PS PAGE8 Acknowledgments T HIS PROJECT WOULD NOT HAVE COME TO FRUITION WITHOUT THE support of many colleagues, friends, and family members. I am in- debted to my colleagues in Latin American theater—Sharon Mag- narelli,JacquelineBixler,LaurietzSeda,PriscillaMele´ndez,Amalia Gladhart, Stuart Day, Elsa Gilmore, Francine A’Ness, Georgina Whittingham and Sandra Cypess, among others—who continue to inspire me through their own scholarship in the field. Thank you es- pecially to George Woodyard, whose mentoring, leadership, and words of encouragement have impacted me greatly and have pro- vided a model for all of us. Along the way, I have been fortunate to be able to communicate with many Latin American playwrights and their insights have been invaluableinthedraftingofthisbook.PedroMonge,Rau´ldeCa´rde- nas, Eduardo Rovner, Ne´stor Caballero, Mat´ıas Montes Huidobro, Rafael Spregelburd, Myrna Casas and Ine´s Mun˜oz Aguirre have shared with me their great ideas along with copies of their latest works. I also appreciate the support of my friend and colleague in Latin American literature, Gisela Norat. Her words of wisdom, ‘‘No te rindas’’ (Don’t give up) kept ringing in my ears. IamgratefultomanycolleaguesintheDepartmentofLanguages, Literatures, and Linguistics at Syracuse University. Erika Haber and Margo Sampson, for their friendship, their warmth, their inspiration, and their professionalism, deserve special mention. I also appreciate my colleagues in Spanish who have worked closely with me on ser- vice, teaching, and research projects. Among them, Kathryn Everly, Dennis Harrod, Alicia R´ıos, Myrna Garc´ıa, Lara Walker, and Pedro Cupermanstandoutfortheircollegialspirit.CatherineNockandSil- via Figari worked tirelessly editing my translations from Spanish to English and I am thankful for their careful reading, their broad knowledge and keen intuitions in both languages, and their sharp sense of linguistic style. Awa Diop, my former student, helped me with the translations from French. Another Syracuse University stu- dent, Libby Hemming, deserves credit for her artistic design and for completing it during her graduation week. Thank you also to my de- 9 .................16165$ $ACK 11-13-0608:08:33 PS PAGE9 10 ACKNOWLEDGMENTS partmentchair,JaklinKornfilt,toAssociateDeanGeraldGreenberg, and to the College of Arts and Sciences for the professional and fi- nancial support of my work. The editors of Bucknell University Press, especially An´ıbal Gon- za´lezandGregClingham,madeimportantcontributionstothisproj- ect and I am grateful to them as well as to the editors and staff at AssociatedUniversityPresses,mostnotablyJulienYoseloff,butalso Christine Retz and Maryann Hostetler for their guidance and atten- tion to detail. My college friends—Claire, Jane, Reills, Ruth, and Betty—have supported my professional life for more than twenty-five years. I am deeply indebted to them; their wittiness and sense of fun have sus- tained me. My friends Mary Ellen Gilbert and Christine Praino have provided a refreshing perspective and good camaraderie along the way. I am very grateful to the entire Bulman clan for their moral support through the past decades. My sister Sandra Brackett and her husband Andy moved me forward with their inspiring words, their generousvacationoffers,andtheirfrequentdisplays ofkindnessand understanding. I am especially grateful to my parents, J. Gerard and SusanGoguen,andmysisterLisaHamel,forbelievinginmytalents and for constantly encouraging me. I am indebted to my father and late mother, Arlene Sharp, who sacrificed greatly so I could explore the world in my early years. Finally,thisbookwouldnothavebeenpossiblewithouttheuncon- ditionalbackingofmyimmediatefamily.Iexpressmygratitudeand my love to my husband, Peter, who willingly cooked, cleaned, and did laundry all along the way so that I could spend countless hours alone with this manuscript. He read my book as often as I did and provided many creative ideas for which I am also appreciative. Spe- cial love and thanks go to my children, Jerry, Michael, and Laura, who have grown up hearing about Mom’s book without complain- ing. Their goodness and their love continue to overwhelm me. (cid:2) Iwishtoformallythankthefollowing grantersofpermissionforuse of material in my book: ‘‘Staging Exile: The Search for Self and Nation in Pedro Monge’s Theater’’ in Gestos: Teor´ıaPra´ctica del Teatro Hispa´nico, 35 (April 2003): 87–103. Permission granted by Juan Villegas, editor. ‘‘Mart´ı,Monologue,andtheMetaphoricalDawninRau´ldeCa´rde- nas’s Un hombre al amanecer’’ Latin American Theatre Review (Special Issue on Caribbean Theatre), 37.2 (Spring 2004): 95–113. Permission granted by George Woodyard, editor. .................16165$ $ACK 11-13-0608:08:34 PS PAGE10
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