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Cuban zarzuela : performing race and gender on Havana's lyric stage

Auteur : Susan Thomas
Éditeur : Urbana : University of Illinois Press, ©2009.
Édition/format :   Print book : AnglaisVoir toutes les éditions et tous les formats
Base de données :WorldCat
Résumé :
"Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage marks the first comprehensive study of the Cuban zarzuela, a Spanish-language light opera with spoken dialogue that originated in Spain but flourished in Havana during the early twentieth century. Created by musicians and managers to fill a growing demand for family entertainment, the zarzuela evidenced the emerging economic and cultural power of  Lire la suite...
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Détails

Type d’ouvrage : Ressource Internet
Format : Livre, Ressource Internet
Tous les auteurs / collaborateurs : Susan Thomas
ISBN : 9780252033315 0252033310
Numéro OCLC : 177019600
Description : ix, 250 pages : illustrations ; 24 cm
Contenu : Cuban lyric theater in context --
Eminently feminine: the politics of gender and genre --
The mulata makes an entrance: the salidas of María la O, Cecilia Valdés, and Amalia Batista --
From the negrito to the negro trágico: the changing representation of black masculinity --
Ingenues and fallen women: representations of white femininity --
Ambivalent heroes and sensual peasants: the galán and the criollo.
Responsabilité : Susan Thomas.
Plus d’informations :

Résumé :

The dynamic genre of musical theater that transformed popular entertainment in Cuba  Lire la suite...

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Synopsis de l’éditeur

"A fascinating interpretation and tightly focused look at the vernacular zarzuela ... as created in Cuba in the 1920s and 1930s."--The Bulletin of the Society for American Music "Thomas provides both Lire la suite...

 
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   schema:reviewBody ""Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage marks the first comprehensive study of the Cuban zarzuela, a Spanish-language light opera with spoken dialogue that originated in Spain but flourished in Havana during the early twentieth century. Created by musicians and managers to fill a growing demand for family entertainment, the zarzuela evidenced the emerging economic and cultural power of Cuba's white female bourgeoisie to influence the entertainment industry. Susan Thomas explores zarzuela's function as a pedagogical tool, through which composers, librettists, and business managers hoped to control their troupes and audiences by presenting desirable and problematic images of both feminine and masculine identities. Zarzuela was, Thomas explains, "anti-feminist but pro-feminine, its plots focusing on female protagonists and its musical scores showcasing the female voice." Focusing on character types such as the mulata, the negrito, and the ingenue, Thomas uncovers the zarzuela's richly textured relationship to social constructs of race, class, and especially gender."--Jacket." ;
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