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

著者: Susan Thomas
出版: Urbana : University of Illinois Press, ©2009.
エディション/フォーマット:   書籍 : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
"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  続きを読む
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資料の種類: インターネット資料
ドキュメントの種類: 図書, インターネットリソース
すべての著者/寄与者: Susan Thomas
ISBN: 9780252033315 0252033310
OCLC No.: 177019600
物理形態: ix, 250 p. : ill. ; 24 cm.
コンテンツ: 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.
責任者: Susan Thomas.
その他の情報:

概要:

A 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. It uncovers the  続きを読む

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"No other author addresses the Cuban zarzuela in such a distinctive manner. Susan Thomas offers revelatory musical and cultural analyses in a captivating narrative replete with unexpected twists and 続きを読む

 
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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."--BOOK JACKET."
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