By Gustavo Remedi
The murgas are troupes of performers, musicians, writers, and creators who, in the course of Montevideo's Carnival, practice at the tablados, transitority phases in-built the neighborhoods of Uruguay's capital urban every year. through the interval of Uruguay's subjection to a brutal dictatorship and within the following period of "democratization," the murgas, predicted initially as well known theater, have been reworked right into a image of social resistance, celebrated through many and perceived by way of others as menacing and subversive. targeting the cultural practices of the decrease periods and extra in particular at the techniques and productions of the murgas, Gustavo Remedi's Carnival Theater is a deeply considerate attention of Uruguayan society's id drawback and next redefinition within the wake of the authoritarian-bureaucratic-technocratic regimes of the Nineteen Sixties. A revealing paintings of cultural feedback, the booklet proposes a brand new set of standards for the translation and critique of nationwide tradition. Gustavo Remedi is assistant professor within the division of recent Languages and Literatures, Trinity university. Amy Ferlazzo teaches at Meredith university in Raleigh, North Carolina.
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Extra info for Carnival Theater: Uruguay's Popular Performers and National Culture (Cultural Studies of the Americas, V. 15)
50 The discord among transnational corporations, national capitalists, and the popular classes, the crisis and impossibility of the current socioeconomic model, and, lastly, the recognition that commercial competency and exchange were built on a foundation of inequality all demanded the creation of a new model of development. This need for a new model, in turn, laid the foundation for the neoliberal state. It also contributed to oppositional efforts to ﬁll a void created by the absence of a bourgeoisie invested in national popular progress and well-being, and propelled the need to escape “dependent” and “uneven” development, the whims of transnational capital, and the terms imposed by more powerful states.
44 While in the nineteenth century the spirit of history was ﬁltered through the European culture objectiﬁed in imported texts, for the generation of ’45 that spirit was distilled in the vicissitudes, hopes, frustrations, struggles, and utopias of the historical agents that ﬁguratively “emerged, took shape, and expressed themselves” in poems, novels, or dramas. I think of the poetry of Pablo Neruda, César Vallejo, Nicolás Guillén, 26 / The Interpretation of National Culture Ernesto Cardenal, Mario Benedetti, Juan Gelman, Roque Dalton, Otto René Castillo, Gioconda Belli, Claribel Alegría, Nancy Morejón; the novels of Mariano Azuela, Miguel Angel Asturias, Ciro Alegría, Alejo Carpentier, José Revueltas, José María Arguedas, Nicomedes Guzmán, Jorge Amado, Rosario Castellanos, Julio Cortázar; the histories and memoirs of Eduardo Galeano, or the plays and dramas of Francisco Arriví, René Marqués, Abelardo Estorino, Agustín Cuzzani, Egon Wolff, Rodolfo Walsh, Osvaldo Dragún, Mauricio Rosencof, Antonio Larreta, Augusto Boal, and Luis Valdéz.
Literature was understood as European styles and texts. In correspondence with the imported aesthetic theories of Europe, by providing proof of the consolidation of bourgeois cultural hegemony, and for its supposed capacity to incorporate and articulate dialogically all available discourses, the novel was considered the superior form. 29 More importantly, literature was considered a tool for nation-building and social progress. For the positivists, literature was a medium for understanding the reality of humans in “their own mediums” or for “the human condition” in general.