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Palenque político

저자: Jesusa Rodríguez; Liliana Felipe; Teatro Bar El Hábito.; Hemispheric Institute Digital Video Library.
출판사: Mexico City : [s.n.], 1999 Nov.
시리즈: Hábito collection.
판/형식:   DVD 비디오 : &Lang.media.vca;   컴퓨터 파일 : Spanish
데이터베이스:WorldCat
요약:
In this political-poetical-philosophical-musical cabaret performance, Jesusa Rodríguez and Liliana Felipe take on Mexicos electoral climate in order to pose a comment on ethics, politics, Mexican folklore and pop culture. Rodríguez populates the scenario of the palenque (cockpit, a place for popular gambling games like cockfighting) with chameleonic characters Chona Schopenhauer (the only ranchera philosopher),  더 읽기…
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상세정보

장르/형태: Cabaret
Satire
Farces
Gay/lesbian
Political
자료 유형: 비디오레코딩
문서 형식: 시각 자료, 컴퓨터 파일
모든 저자 / 참여자: Jesusa Rodríguez; Liliana Felipe; Teatro Bar El Hábito.; Hemispheric Institute Digital Video Library.
OCLC 번호: 184823049
언어 메모: In Spanish.
메모: Title supplied by Hemispheric Institute.
Part of the Hemispheric Institute Digital Video Library.
크레딧: Liliana Felipe, music.
주연: Jesusa Rodríguez, Liliana Felipe, Isela Vega, Yoma Vela, Roberto Cabral.
이벤트 노트: Performed at Teatro El Hábito, Mexico City, Nov. 1999.
설명: 2 videocassettes of 2 (Digital Betacam) (101 min.) : sd., col. ; 1/2 in. master. 2 videodiscs of 2 (DVD) (101 min.) : sd., col. ; 4 3/4 in. viewing copy.
일련 제목: Hábito collection.
다른 제목 Political cockpit
책임: Jesusa Rodríguez, writer, director.

초록:

In this political-poetical-philosophical-musical cabaret performance, Jesusa Rodríguez and Liliana Felipe take on Mexicos electoral climate in order to pose a comment on ethics, politics, Mexican folklore and pop culture. Rodríguez populates the scenario of the palenque (cockpit, a place for popular gambling games like cockfighting) with chameleonic characters Chona Schopenhauer (the only ranchera philosopher), Pita Amor (an old-fashioned, affected performer of poetry) and Don Andrés Soler (a very macho, politically conservative old man), among others, through which she criticizes the corruption and violence associated with Mexicos political climate. In a phenomenology of fortuitous becoming, the universe is portrayed as a palenque where anything could happen, and Mexican electoral processes as a gamble. In this vein, and interspersed with parodic renditions of traditional folk songs by Rodríguez and sexy ranchera Isela Vega (a famous Mexican vedette), the audience is invited to play a satirical Mexican lotería (with cards like The Wetback, The Zapatista, The First Lady, and The ATM substituting the traditional icons of this popular game) and to gamble, control, and judge an electoral cockfight where puppets of political candidates race to be the first to reach the finishing line of presidency.

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