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

著者: Susan Thomas
出版商: Urbana : University of Illinois Press, ©2009.
版本/格式:   打印图书 : 英语查看所有的版本和格式
提要:
"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  再读一些...
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材料类型: 互联网资源
文档类型 图书, 互联网资源
所有的著者/提供者: Susan Thomas
ISBN: 9780252033315 0252033310
OCLC号码: 177019600
描述: ix, 250 pages : illustrations ; 24 cm
内容: 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.
责任: Susan Thomas.
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The dynamic genre of musical theater that transformed popular entertainment in Cuba  再读一些...

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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 再读一些...

 
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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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