Convention and Transgression: The Theatre of Emilio Carballido
Emilio Carballido is one of the most prominent, influential, and prolific of contemporary Hispanic playwrights. He has had a greater influence on Mexican theatre than any other dramatist in history, while outside his country he is known as the ambassador of Mexican theatre. The present study traces several specific dramatic forms over several decades and thus provides a solid basis for a comprehensive view of Carballido's dramatic evolution. This study seeks to define and redefine the dramatic forms that he has reshaped to capture the ambiguous, complex, and changing nature of the modern world and human behavior.
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Acapulco action American Theatre Review Aminta audience Carba Carballido's plays Carballido's theatre Carlos cartas de Mozart Ceremonia characters Chucho comic convey Corrigan critical culture danza que suena dark comedy Despite dia de ira dialogue Diana Taylor discourse dramatic forms dramatist dream El album Emilio Carballido epic theatre estatuas de marfil Eugene Skinner Eugenio fantastic farce Felicidad Fifi final Fotografia Frank Dauster freedom Gabriela genre hebra de oro Hidalgo historical drama Hombre humor Intermediaria Joven Juana Juarez juro Latin American Theatre Leonela Llaveros lunes Margaret Peden Margaret Sayers Peden Margarita Marlene Medusa metaphor Mexican Mexico City myth Northrop Frye Orinoco pelones pequeno dia planeta play's playa playwrights political popular theatre postmodern present realism reality relationships Rocio Rodolfo Usigli role rosa Rosalba scene social stage structure subtitle suena la tortuga tambien hablo teatro Teseo theatrical Tiempo de ladrones tion traditional tragicomedy Translation underscore vals sin fin Veracruz
Page 31 - from Kierkegaard's philosophy of life as something inherently and contradictorily comic: "the comical is present in every stage of life, for wherever there is life there is contradiction, and wherever there is contradiction the comical is present.
Page 36 - as marginal members of the final society. In typical comedic structure, the original society, "controlled by habit, ritual bondage, arbitrary law and the older characters," gives way, according to Northrop Frye, to "a society controlled by youth and pragmatic freedom.
Page 36 - Lorenzo, as Rosalba's opposite and the opposition, fits neatly into Levin's category of comic killjoy: "They cannot make a joke; they cannot take a joke; they cannot see the joke; they spoil the game. Humorless and unconsciously humorous . . . they cannot adapt their preconceptions to actuality, when it unavoidably presses upon their lives.
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Latin American Theatre Review, Volume 31
No preview available - 1997