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Contemporary Performance Translation
- Challenges and Opportunities for the Global Stage
- Jean Graham-Jones
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- October 2024
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- 31 October 2024
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Radically rethinking translation for the contemporary international stage, Jean Graham-Jones interrogates standard linguistic and cultural categories and proposes an overhaul of the translation process itself, incorporating dramaturgical logic and staging, actor training and performance styles, gesture and embodiment, and performance aesthetics and reception. She demonstrates how a theory of translationality – in which translations do not erase the original but rather stand in relation to it and to other texts and performances – encapsulates the collaborative process between contemporary translators and theatre artists. Presenting multiple experiential cases and drawing on Graham-Jones's own career as a translator, actor, director and scholar working in Argentina, the US, and the UK, this richly interdisciplinary work extends a traditional understanding of contemporary performance translation and its potential in theatrical practice.
Chapter 14 - International Festivals in Latin America
- from Part II - International Festivals Around the Globe
- Edited by Ric Knowles, University of Guelph, Ontario
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- The Cambridge Companion to International Theatre Festivals
- Published online:
- 22 May 2020
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- 11 June 2020, pp 224-238
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Summary
This chapter begins with an overview of international festivals in the region before moving into a detailed examination of the often-competing dynamics and complexities operating within today’s Latin American theatre festival. The chapter centres on two of the region’s major festivals – Chile’s annual Santiago a Mil Festival and Argentina’s biannual Festival Internacional de Buenos Aires – in order to illustrate fundamental differences that range from origins to institutional and funding structures to programming decisions and even to individual festivals’ varied relationships to the international cultural marketplace. Albeit easily dismissed as ‘encuentros vitrina’ (display- or show-case encounters), and despite having cemented a professional and commercial inter-festival relationship in recent years, the two festivals converge and diverge significantly, thus offering insights into the challenges and opportunities found in contemporary Latin American theatre festivals when positioned within the international festival circuits.
Jumping to conclusions, general intelligence, and psychosis liability: findings from the multi-centre EU-GEI case-control study
- Giada Tripoli, Diego Quattrone, Laura Ferraro, Charlotte Gayer-Anderson, Victoria Rodriguez, Caterina La Cascia, Daniele La Barbera, Crocettarachele Sartorio, Fabio Seminerio, Ilaria Tarricone, Domenico Berardi, Andrei Szöke, Celso Arango, Andrea Tortelli, Pierre-Michel Llorca, Lieuwe de Haan, Eva Velthorst, Julio Bobes, Miguel Bernardo, Julio Sanjuán, Jose Luis Santos, Manuel Arrojo, Cristina Marta Del-Ben, Paulo Rossi Menezes, Jean-Paul Selten, EU-GEI WP2 Group, Peter B. Jones, Hannah E Jongsma, James B Kirkbride, Antonio Lasalvia, Sarah Tosato, Alex Richards, Michael O’Donovan, Bart PF Rutten, Jim van Os, Craig Morgan, Pak C Sham, Robin M. Murray, Graham K. Murray, Marta Di Forti
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- Psychological Medicine / Volume 51 / Issue 4 / March 2021
- Published online by Cambridge University Press:
- 24 April 2020, pp. 623-633
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Background
The ‘jumping to conclusions’ (JTC) bias is associated with both psychosis and general cognition but their relationship is unclear. In this study, we set out to clarify the relationship between the JTC bias, IQ, psychosis and polygenic liability to schizophrenia and IQ.
MethodsA total of 817 first episode psychosis patients and 1294 population-based controls completed assessments of general intelligence (IQ), and JTC, and provided blood or saliva samples from which we extracted DNA and computed polygenic risk scores for IQ and schizophrenia.
ResultsThe estimated proportion of the total effect of case/control differences on JTC mediated by IQ was 79%. Schizophrenia polygenic risk score was non-significantly associated with a higher number of beads drawn (B = 0.47, 95% CI −0.21 to 1.16, p = 0.17); whereas IQ PRS (B = 0.51, 95% CI 0.25–0.76, p < 0.001) significantly predicted the number of beads drawn, and was thus associated with reduced JTC bias. The JTC was more strongly associated with the higher level of psychotic-like experiences (PLEs) in controls, including after controlling for IQ (B = −1.7, 95% CI −2.8 to −0.5, p = 0.006), but did not relate to delusions in patients.
ConclusionsOur findings suggest that the JTC reasoning bias in psychosis might not be a specific cognitive deficit but rather a manifestation or consequence, of general cognitive impairment. Whereas, in the general population, the JTC bias is related to PLEs, independent of IQ. The work has the potential to inform interventions targeting cognitive biases in early psychosis.
Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
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‘Common-Sense Catchword’: The Applications of Censura to Argentinian Theatre and Performance
- JEAN GRAHAM-JONES
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- Theatre Research International / Volume 36 / Issue 2 / July 2011
- Published online by Cambridge University Press:
- 31 May 2011, pp. 102-116
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- July 2011
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This article probes some of the ‘catches’ in the universal application of the common-sense word ‘censorship’. To do so, it scrutinizes the application of the Spanish-language term censura to theatre produced in Buenos Aires and its working-class suburbs in the past thirty-five years, under dictatorship as well as democracy, through the examination of specific cases of productions and plays classified as censored, self-censored, and/or counter-censorial. The article concludes by examining two plays whose writing pre-dates the last dictatorship but which are still considered illustrative of a certain kind of Argentinian censorship. Through these various examples drawn from Argentinian theatrical practice, the article exposes censorship as a problematic category when applied equally at all times.
Latin American(ist) Theatre History: Bridging the Divides
- Jean Graham-Jones
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- Theatre Survey / Volume 47 / Issue 2 / November 2006
- Published online by Cambridge University Press:
- 12 September 2006, pp. 209-215
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- November 2006
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In October 2004, I edited Theatre Journal's special issue on Latin American theatre. In addition to five essays on subjects ranging from sixteenth-century Amerindian performance to a twenty-first-century Mexican adaptation of an Irish play, that issue included a forum on the state of Latin American theatre and performance studies in the United States today. Even though the thirteen respondents resided, independently or as affiliates, in different disciplinary homes (theatre, performance, languages, and literature) and took multiple points of departure, a common thread ran throughout their comments: the need for the U.S. academy to study and teach the diversity that is known as Latin America.1 Tamara Underiner succinctly notes that “Latin America has never answered easily as an object of inquiry for theatre studies.”2 Indeed, studying Latin American theatre and performance poses very specific challenges: the region encompasses some twenty countries whose national borders obscure larger geographical, cultural, religious, political, and socioeconomic networks; a multiplicity of languages—European, dialectal, and indigenous to the hemisphere—are still spoken, written, and performed; and numerous intersecting histories extend back far beyond the five hundred years since the Europeans arrived and precipitated what today we euphemistically refer to as “contact.” Latin America does not terminate at the U.S.–Mexican border; thus although I'm cognizant of the attendant complications when including the U.S. latino/a communities in a discussion of Latin American theatre, the cultural network is such that I consider any arbitrary separation counter to the purposes of this reflection. Otherwise, how can we take into account the larger networks navigated by such U.S.-based playwrights as Guillermo Reyes (born in Chile but raised in the United States and the author of plays about Chilean history as well as specifically U.S. identities) or Ariel Dorfman (born in Argentina, raised in New York City and Santiago, Chile, now a professor at Duke, and author of English-language plays whose subject matter is frequently authoritarian Latin America)?
Blackface Cuba, 1840–1895
- Jean Graham-Jones
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- Theatre Survey / Volume 47 / Issue 2 / November 2006
- Published online by Cambridge University Press:
- 12 September 2006, pp. 343-345
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- November 2006
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Contributors
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- By Graham Allan, Donna M. Allen, Irwin Altman, Arthur Aron, Donald H. Baucom, Steven R. H. Beach, Ellen Berscheid, Rosemary Blieszner, Jeffrey Boase, Tyfany M. J. Boettcher, Barbara B. Brown, Abraham P. Buunk, Lorne Campbell, Daniel J. Canary, Rodney Cate, John P. Caughlin, Mahnaz Charania, Jennie Y. Chen, F. Scott Christopher, Jennifer A. Clarke, Marilyn Coleman, W. Andrew Collins, Michael K. Coolsen, Nathan R. Cottle, Carolyn E. Cutrona, Marianne Dainton, Valerian J. Derlega, Lisa M. Diamond, Pieternel Dijkstra, Steve Duck, Pearl A. Dykstra, Norman B. Epstein, Beverley Fehr, Frank D. Fincham, Helen E. Fisher, Julie Fitness, Garth J. O. Fletcher, Myron D. Friesen, Lawrence Ganong, Kelli A. Gardner, Jenny de Jong Gierveld, Robin Goodwin, Christine R. Gray, Kathryn Greene, David W. Harris, Willard W. Hartup, John H. Harvey, Kathi L. Heffner, Ted L. Huston, William J. Ickes, Emily A. Impett, Michael P. Johnson, Deborah J. Jones, Deborah A. Kashy, Janice K. Kiecolt‐Glaser, Jeffrey L. Kirchner, Brighid M. Kleinman, Galena H. Kline, Mark L. Knapp, Ascan Koerner, Jean‐Philippe Laurenceau, Kim Leon, Timothy J. Loving, Stephanie D. Madsen, Howard J. Markman, Alicia Mathews, Mario Mikulincer, Patricia Noller, Nickola C. Overall, Letitia Anne Peplau, Daniel Perlman, Sally Planalp, Urmila Pillay, Nicole D. Pleasant, Caryl E. Rusbult, Barbara R. Sarason, Irwin G. Sarason, Phillip R. Shaver, Alan L. Sillars, Jeffry A. Simpson, Susan Sprecher, Susan Stanton, Greg Strong, Catherine A. Surra, Anita L. Vangelisti, C. Arthur VanLear, Theo van Tilburg, Barry Wellman, Amy Wenzel, Carol M. Werner, Adam R. West, Sarah W. Whitton, Heike A. Winterheld
- Edited by Anita L. Vangelisti, University of Texas, Austin, Daniel Perlman, University of British Columbia, Vancouver
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- The Cambridge Handbook of Personal Relationships
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- 05 June 2012
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- 05 June 2006, pp xvii-xxii
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“The Truth Is . . . My Soul Is with You”: Documenting a Tale of Two Evitas
- Jean Graham-Jones
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- Journal:
- Theatre Survey / Volume 46 / Issue 1 / May 2005
- Published online by Cambridge University Press:
- 18 August 2005, pp. 67-78
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- May 2005
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One evening in 1973, or so the story goes, Tim Rice caught the last part of a BBC program about Eva Perón on his car radio. Intrigued enough to make a point of tuning into a later rebroadcast, he became fascinated with this woman, whose single saving grace—he later stated—was that “she had style, in spades.” In late 1976, after more than two years spent researching, writing, composing, and recording (and one or two trips to Buenos Aires), Rice and Andrew Lloyd Webber released the studio album of Evita, their rock-opera follow-up to the hugely successful Jesus Christ Superstar. They would not work together again until they reunited to create the song “You Must Love Me” for the 1997 film version of Evita. The original staging of Evita, under Harold Prince's direction, premiered on 21 June 1978 in London's Prince Edward Theatre. The U.S. premiere came barely eleven months later, on 8 May 1979 in Los Angeles's Dorothy Chandler Pavilion. In December 1980, the Spanish-language version (translated and adapted by Jaime Azpilicueta and Ignacio Artime) opened at Madrid's Monumental Theatre. Although director Azpilicueta did not stray far from the original staging, except for a few “Argentinizing” modifications, on 26 June 1981 Prince premiered his own staging of the Azpilicueta—Artime translation in Mexico City.
Transculturating Politics, Realism, and Experimentation in 1960s Buenos Aires Theatre
- Jean Graham-Jones
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- Journal:
- Theatre Survey / Volume 43 / Issue 1 / May 2002
- Published online by Cambridge University Press:
- 20 September 2002, pp. 7-21
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- May 2002
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Three auspicious premieres attested to an international “sixties” presence in the Argentinean capital. The Sala Planeta produced Jean-Claude Van Itallie's America Hurrah! under the direction of Carlos Gandolfo, an influential leader of the 1950s Buenos Aires independent theatre movement. Premiering as well at the Planeta was Joe Orton's Entertaining Mr. Sloan, directed by Alberto Ure, soon to travel to the United States to study the work of the Open Theatre, the Performance Group, and the Theatre of the Ridiculous. Shortly after his return to Buenos Aires, Ure would become known for his own psychodramatic performance techniques. The cast of Entertaining Mr. Sloan included Eduardo Pavlovsky, an actor who was rapidly establishing himself as one of Buenos Aires's important “absurdist” playwrights. A third production launched the Equipo Teatro Payró; their staging of Megan Terry's Viet Rock would run for three years and 409 performances. The production's director and Payró cofounder, Jaime Kogan, soon became one of Buenos Aires's most respected independent theatre directors, and its principal actors went on to successful independent and commercial theatre, television, and film careers. The legendary Argentine rock band Manal performed the production's music.
Transnationalizing the National and the International: Buenos Aires' First International Festival of Theatre, Music, and Dance
- Jean Graham-Jones
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- Journal:
- Theatre Research International / Volume 27 / Issue 1 / March 2002
- Published online by Cambridge University Press:
- 14 February 2002, pp. 58-67
- Print publication:
- March 2002
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In October 1997 the City of Buenos Aires hosted its first International Festival of theatre, music, dance, and the visual arts with performances by groups from Africa, Asia, Europe, and the Americas. Latin American theorists, among them Fernando Ortiz and Angel Rama, who have long considered such a transcultural event not as culturally transcendent but, rather, as culturally transformative, provide a frame for reading the Buenos Aires Festival as a site of transnational and transcultural operations. Particular focus is placed on the Festival's geopolitico-cultural project, constructed out of the complex relations of local, national, regional, and international politics and performance.