Get Carnival Theater: Uruguay's Popular Performers and National PDF

By Gustavo Remedi

ISBN-10: 0816634548

ISBN-13: 9780816634545

The murgas are troupes of performers, musicians, writers, and creators who, in the course of Montevideo's Carnival, practice at the tablados, transitority levels inbuilt the neighborhoods of Uruguay's capital urban every year. through the interval of Uruguay's subjection to a brutal dictatorship and within the following period of "democratization," the murgas, estimated initially as renowned theater, have been reworked right into a image of social resistance, celebrated via many and perceived by means of others as menacing and subversive. concentrating on the cultural practices of the reduce sessions and extra in particular at the approaches and productions of the murgas, Gustavo Remedi's Carnival Theater is a deeply considerate attention of Uruguayan society's id challenge and next redefinition within the wake of the authoritarian-bureaucratic-technocratic regimes of the Sixties. A revealing paintings of cultural feedback, the booklet proposes a brand new set of standards for the translation and critique of nationwide tradition. Gustavo Remedi is assistant professor within the division of contemporary Languages and Literatures, Trinity university. Amy Ferlazzo teaches at Meredith university in Raleigh, North Carolina.

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Extra info for Carnival Theater: Uruguay's Popular Performers and National Culture (Cultural Studies of the Americas, V. 15)

Sample text

The criticism of the generation of ’18 was complacent, proper, and learned, dedicated to the study of literature and 20 / The Interpretation of National Culture education. It celebrated the canon, but also sent a gesture of approval toward the literary vanguards. 36 In spite of this idyllic image, however, the first decades of the twentieth century formed the stage for a series of social, political, and ideological conflicts, the consolidation of anarchist and socialist workingclass organizations, the foundation in 1910 of the Socialist party (a fierce critic of the reforms of Batllism, which split into Socialist and Communist parties in 1922), the organization and radicalization of the university movement, etc.

Writing has its representational limits. Aesthetic forms with no body, texts and their readings contain strength in their ability to diffuse information and stimulate the imagination, but find in these same strengths their aesthetic and sensory limitations. By popular transculturators, unlike the novelists that illustrate Rama’s theory, I refer to all those cultural producers who perform acts of transculturation “in” the popular public sphere. Through their elaborations and re-creations, they attempt to draw ties and distinctions within and among the diverse worlds and histories of the popular classes as well as the national and transnational elites.

Yet an excessive emphasis on the written word and the novel as a privileged expressive medium pervades Rama’s writings. Perhaps he failed to recognize that transculturation cannot be reduced to a combination of diverse symbols and ways of thinking collapsed onto paper, that transculturation consists of a broad array of aesthetic and symbolic modes of production among which literature constitutes merely one form. Here lies the drama, and the great challenge, of Arguedas, of García Márquez, and of so many other Latin American authors who, wanting to write their national cultures as universal cultures, find that other cultures offer resistance to their texts.

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Carnival Theater: Uruguay's Popular Performers and National Culture (Cultural Studies of the Americas, V. 15) by Gustavo Remedi

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