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9780809333080 0809333082 The collapse of the Soviet Union in 1989 drastically altered life in Cuba. Theatre artists were faced with new economic and social realities that changed their day-to-day experiences and ways of looking at the world beyond the island. The Cuban Revolution's resistance to and intersections with globalization, modernity, emigration and privilege are central to the performances examined in this study. The first book-length study in English of Cuban and Cuban American plays, Cuba Inside Out provides a framework for understanding texts and performances that support, challenge, and transgress boundaries of exile and nationalism. Prizant reveals the intricacies of how revolution is staged theatrically, socially, and politically on the island and in the Cuban diaspora. This close examination of seven plays written since 1985 seeks to alter how U.S. audiences perceive Cuba, its circumstances, and its theatre., Yael Prizant's examination of seven plays written since 1985 by Cuban and Cuban American playwrights offers fascinating insights into concepts of revolution, globalization, and exile in an effort to radically change how U.S. audiences perceive Cuba and its theatre. The first book-length study in English of Cuban and Cuban American plays, Cuba Inside Out provides a framework for understanding texts and performances through the lenses of revolution, resistance, exile, and transgression. Prizant deftly reveals the intricacies of how revolution is staged theatrically, socially, and politically on the island and in the Cuban diaspora. The ways in which Cubans experience the Revolution's resistance to and intersections with globalization, modernity, emigration, and privilege are central to these plays. The plays discussed include Charenton by Raquel Carri, Carlotta Corday and Ignacio y Maria by Nara Mansur, Laberinto de Lobos by Miguel Terry, Illuminating Veronica by Rogelio Martinez, Hortensia and the Museum of Dreams by Nilo Cruz, and Traidor by Reinaldo Arenas.
9780809333080 0809333082 The collapse of the Soviet Union in 1989 drastically altered life in Cuba. Theatre artists were faced with new economic and social realities that changed their day-to-day experiences and ways of looking at the world beyond the island. The Cuban Revolution's resistance to and intersections with globalization, modernity, emigration and privilege are central to the performances examined in this study. The first book-length study in English of Cuban and Cuban American plays, Cuba Inside Out provides a framework for understanding texts and performances that support, challenge, and transgress boundaries of exile and nationalism. Prizant reveals the intricacies of how revolution is staged theatrically, socially, and politically on the island and in the Cuban diaspora. This close examination of seven plays written since 1985 seeks to alter how U.S. audiences perceive Cuba, its circumstances, and its theatre., Yael Prizant's examination of seven plays written since 1985 by Cuban and Cuban American playwrights offers fascinating insights into concepts of revolution, globalization, and exile in an effort to radically change how U.S. audiences perceive Cuba and its theatre. The first book-length study in English of Cuban and Cuban American plays, Cuba Inside Out provides a framework for understanding texts and performances through the lenses of revolution, resistance, exile, and transgression. Prizant deftly reveals the intricacies of how revolution is staged theatrically, socially, and politically on the island and in the Cuban diaspora. The ways in which Cubans experience the Revolution's resistance to and intersections with globalization, modernity, emigration, and privilege are central to these plays. The plays discussed include Charenton by Raquel Carri, Carlotta Corday and Ignacio y Maria by Nara Mansur, Laberinto de Lobos by Miguel Terry, Illuminating Veronica by Rogelio Martinez, Hortensia and the Museum of Dreams by Nilo Cruz, and Traidor by Reinaldo Arenas.