Mascaras en los Espejos de la Procesion Postcolonial: Rebeldia de la Mujer Afrodescendiente en el Teatro Afrocubano Contemporáneo

Persistent Link:
http://hdl.handle.net/10150/195750
Title:
Mascaras en los Espejos de la Procesion Postcolonial: Rebeldia de la Mujer Afrodescendiente en el Teatro Afrocubano Contemporáneo
Author:
Fajardo-Cardenas, Marcelo
Issue Date:
2010
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
This investigation into modern Cuban theater examines the self-reflective discourse of Afro-Cuban women and her masks in the mirror. This study arose in response to the lack of critical analysis undertaken on this subject matter. Although the number of plays with female Afro-Cuban protagonists is relatively small, there is a growing body of plays with specific concepts that identify them as Contemporary Afro-Cuban Theater, where the life and culture of the Afro-Cuban people is viewed as through a mirror commenting on their own experiences. The persistence of certain themes, formal elements, staging, and an anti-colonial world view form the unique markers of this genre within Cuban theater. The three plays that constitute the primary material for this study are: Juan Revolico (1944), by Flora Diaz Parrado, Medea en el espejo (1959), by Jose Triana, and Maria Antonia (1964), by Eugenio Espinosa Hernandez. Each of these plays is a tragedy with a modern heroin that challenges the stereotypes established by a patriarchal and Eurocentric society, and creating new archetypes.The investigation analyzes the disobedience and rebelliousness of the heroines as they strive against the established power structure. It uncovers a unique approach to Cuban national identity in which the marginalized Afro-Cuban woman is cast in a protagonist role; it is through these protagonist roles that she subverts pre-established notions of race, class, and gender, from the women's tragedies in the patriarchal Euro-centric Cuban society.A re-structuring of gender roles is brought about through the feminine powers of seduction. Throughout each play the Afro-Cuban woman sees herself in the mirror and is able to gather the pieces of her fragmented identity. Afro-Cuban culture and religion are central to the solution of the thematic, formal, and plot conflicts.Among the most relevant contributions of this study is the idea that contemporary Afro-Cuban Theater exists as its own genre. Afro-Cuban Theater exists with its own aesthetics, profile, and anti-colonial perspective. Here the perspectives of Afro-Cuban woman are explored through the protagonists of three of the most significant models of this genre, Juan Revolico, Medea en el espejo, and Maria Antonia.
Type:
text; Electronic Dissertation
Keywords:
Heroi­nas afrocubanas en el teatro cubano contemporaneo; Heroinas en el Teatro afrocubano contemporaneo; La mujer afrocubana en el teatro cubano moderno; Mascara en los espejos de la procesion afrocubana; Mascaras en las heroi­nas afrocubanas contemporaneas; Mascaras y espejos de la heroina afrocubana; Literature, Caribbean; Literature, Latin American
Degree Name:
Ph.D.
Degree Level:
doctoral
Degree Program:
Spanish; Graduate College
Degree Grantor:
University of Arizona
Committee Chair:
Fitch, Melissa A.

Full metadata record

DC FieldValue Language
dc.language.isoesen_US
dc.titleMascaras en los Espejos de la Procesion Postcolonial: Rebeldia de la Mujer Afrodescendiente en el Teatro Afrocubano Contemporáneoen_US
dc.creatorFajardo-Cardenas, Marceloen_US
dc.contributor.authorFajardo-Cardenas, Marceloen_US
dc.date.issued2010en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractThis investigation into modern Cuban theater examines the self-reflective discourse of Afro-Cuban women and her masks in the mirror. This study arose in response to the lack of critical analysis undertaken on this subject matter. Although the number of plays with female Afro-Cuban protagonists is relatively small, there is a growing body of plays with specific concepts that identify them as Contemporary Afro-Cuban Theater, where the life and culture of the Afro-Cuban people is viewed as through a mirror commenting on their own experiences. The persistence of certain themes, formal elements, staging, and an anti-colonial world view form the unique markers of this genre within Cuban theater. The three plays that constitute the primary material for this study are: Juan Revolico (1944), by Flora Diaz Parrado, Medea en el espejo (1959), by Jose Triana, and Maria Antonia (1964), by Eugenio Espinosa Hernandez. Each of these plays is a tragedy with a modern heroin that challenges the stereotypes established by a patriarchal and Eurocentric society, and creating new archetypes.The investigation analyzes the disobedience and rebelliousness of the heroines as they strive against the established power structure. It uncovers a unique approach to Cuban national identity in which the marginalized Afro-Cuban woman is cast in a protagonist role; it is through these protagonist roles that she subverts pre-established notions of race, class, and gender, from the women's tragedies in the patriarchal Euro-centric Cuban society.A re-structuring of gender roles is brought about through the feminine powers of seduction. Throughout each play the Afro-Cuban woman sees herself in the mirror and is able to gather the pieces of her fragmented identity. Afro-Cuban culture and religion are central to the solution of the thematic, formal, and plot conflicts.Among the most relevant contributions of this study is the idea that contemporary Afro-Cuban Theater exists as its own genre. Afro-Cuban Theater exists with its own aesthetics, profile, and anti-colonial perspective. Here the perspectives of Afro-Cuban woman are explored through the protagonists of three of the most significant models of this genre, Juan Revolico, Medea en el espejo, and Maria Antonia.en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectHeroi­nas afrocubanas en el teatro cubano contemporaneoen_US
dc.subjectHeroinas en el Teatro afrocubano contemporaneoen_US
dc.subjectLa mujer afrocubana en el teatro cubano modernoen_US
dc.subjectMascara en los espejos de la procesion afrocubanaen_US
dc.subjectMascaras en las heroi­nas afrocubanas contemporaneasen_US
dc.subjectMascaras y espejos de la heroina afrocubanaen_US
dc.subjectLiterature, Caribbeanen_US
dc.subjectLiterature, Latin Americanen_US
thesis.degree.namePh.D.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineSpanishen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.chairFitch, Melissa A.en_US
dc.contributor.committeememberRivero, Elianaen_US
dc.contributor.committeememberCompitelo, Malcolmen_US
dc.identifier.proquest11195en_US
dc.identifier.oclc752261045en_US
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