Mexican Theater History and Its Discontents: Politics, Performance, and History in Mexico

Ybarra, Patricia

doi:10.1215/00267929-2008-033

Cited by 8 publications

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“…Chavero (1892) y Francisco del Paso y Troncoso (1892) describen la impresionante colección exhibida en Madrid en 1892. 9 Para una discusión de la relación simbiótica entre la producción teatral y la producción histórica en el México decimonónico, véaseYbarra (2009).https://doi.org/10.25222/larr.526 Published online by Cambridge University Press…”

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Distorsión y silencio en elLienzo de Tlaxcala(1892) de Alfredo Chavero: Notas metodológicas

Amaral-Rodríguez

2020

Lat. American Res. Rev.

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La Descripción de la ciudad y provincia de Tlaxcala (1581–1585), un manuscrito tlaxcalteco que contiene imágenes homólogas al Lienzo de Tlaxcala (del que solo existen copias pero no el original), fue encontrado en 1976 y publicado en tres ediciones y reimpresiones modernas a partir de 1981. Aunque este manuscrito del siglo XVI ofrece imágenes auténticas al investigador, la práctica corriente sigue siendo la consulta o uso asiduos de las imágenes del Lienzo de Tlaxcala publicado por Alfredo Chavero en 1892. Como intervención ante estas prácticas metodológicas, y tomando como punto de partida el contexto ideológico de producción de la copia del Lienzo de Tlaxcala publicada por Alfredo Chavero, este artículo identifica y examina una diferencia fundamental entre ambos códices no discutida por expertos hasta ahora: una reformulación del discurso tlaxcalteca de conquista por intelectuales del Porfiriato que silencia o borra aspectos fundamentales de la narración histórica tlaxcalteca según presentada en el siglo XVI. Finalmente, este trabajo argumenta que nuestro Lienzo de Tlaxcala del siglo XVI es la Descripción de la ciudad y provincia de Tlaxcala y que la edición de Chavero responde, más bien, a los proyectos nacionalistas y propagandistas del estado moderno mexicano durante el Porfiriato.

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Distorsión y silencio en elLienzo de Tlaxcala(1892) de Alfredo Chavero: Notas metodológicas

Amaral-Rodríguez

2020

Lat. American Res. Rev.

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2014

Staging the Blues

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Beale on Broadway, a blues bar and music venue located in the shadow of Busch Stadium in downtown St. Louis, Missouri. Only partially shielded from the heat and the rain by a corrugated tin roof, patrons crowd around wobbly wooden tables and perch on green plastic lawn chairs, many of which end up pushed aside when the dancing begins in earnest. The bartender pours gin in plastic cups; the occasional delivery of takeout food serves as a proxy for an in-house kitchen. The outdoor stage, with its wooden planks and kitschy Southernthemed décor, was designed by the owner, Bud Jostes, to resemble "a rickety front porch in the Mississippi Delta," that place famously described by Alan Lomax as "the land where the blues began." 1 From this outdoor patio one can see the Union Pacific tracks in the middle distance. As if employed to complete the mise-en-scène, freight trains rumble by from time to time, on their way from Memphis to Chicago, perhaps.The domesticity of the stage set suggests that these performers are talented down-home amateurs, rather than paid professionals. The crowd-an unusually heterogeneous group in this strikingly segregated city-has come to see and hear Kim Massie, a self-identified and crowd-confirmed "St. Louis diva." Massie, who is black, sings in churches and in musicals at local theaters, but she is best known as a cover artist. With her band, the Solid Senders, Massie twice-weekly thrills audiences with her uncannily precise imitations of black female singers and their most iconic songs: Etta James ("At Last"), Georgia White ("I'll Keep Sitting on It [If I Can't Sell It]"), Dinah Washington ("Evil Gal Blues"), Aretha Franklin ("[You Make Me Feel like a] Natural Woman"), and Whitney Houston ("I Will Always Love You"). Massie's repertoire is imaginatively extensive, however, and she also covers songs originally popularized by men, including B. B. King's "The Thrill Is Gone" and Led Zeppelin's "Whole Lotta Love." Massie not only exhibits musical mastery of material usually Introduction Beale On BrOadway

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Real Personality

2014

Staging the Blues

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Mexican Theater History and Its Discontents: Politics, Performance, and History in Mexico

Cited by 8 publications

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Distorsión y silencio en elLienzo de Tlaxcala(1892) de Alfredo Chavero: Notas metodológicas

Distorsión y silencio en elLienzo de Tlaxcala(1892) de Alfredo Chavero: Notas metodológicas

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