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出版者:

作者:Rossini, Jon D.

出品人:

页数:288

译者:

出版时间:2008-4

价格:$ 42.38

装帧:

isbn号码:9780809328307

丛书系列:

图书标签:

Latina/o Theater
Contemporary Theater
American Theater
Drama
Performing Arts
Cultural Studies
Literary Criticism
Ethnic Studies
Gender Studies
Social Issues

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In "Contemporary Latina/o Theater," Jon D. Rossini explores the complex relationship between theater and the creation of ethnicity in an unprecedented examination of six Latina/o playwrights and their works: Miguel Pinero, Luis Valdez, Guillermo Reyes, Octavio Solis, Jose Rivera, and Cherrie Moraga. Rossini exposes how these writers use the genre as a tool to reveal and transform existing preconceptions about their culture. Through "wrighting"--the triplicate process of writing plays, righting misconceptions about ethnic identity, and creating an entirely new way of understanding Latina/o culture--these playwrights directly intervene in current conversations regarding ethnic identity, providing the tools for audiences to reexplore their previously held perspectives outside the theater.Examining these writers and their works in both cultural and historical contexts, Rossini reveals how playwrights use the liminal space of the stage--an area on the thresholds of both theory and reality--to "wright" new insights into Latina/o identity. They use the limits of the theater itself to offer practical explorations of issues that could otherwise be discussed only in highly theoretical terms.Rossini traces playwrights' methods as they address some of the most challenging issues facing contemporary Latinas/os in America: from the struggles for ethnic solidarity and the dangers of a community based in fear, to stereotypes of Latino masculinity and the problematic fusion of ethnicity and politics. Rossini discusses the looming specter of the border in theater, both as a conceptual device and as a literal reality--a crucial subject for modern Latinas/os, given recent legislation and other actions. Throughout, the author draws intriguing comparisons to the cultural limbo in which many Latinas/os find themselves today. An indispensable volume for anyone interested in drama and ethnic studies, "Contemporary Latina/o Theater" underscores the power of theatricality in exploring and rethinking ethnicity. Rossini provides the most in-depth analysis of these plays to date, offering a groundbreaking look at the ability of playwrights to correct misconceptions and create fresh perspectives on diversity, culture, and identity in Latina/o America.

Contemporary Latina/o Theater: A Tapestry of Voices and Visions Contemporary Latina/o Theater is not a book you will find on the shelves, nor is it a collection of plays waiting to be discovered. Instead, it represents a vibrant and ever-evolving landscape of artistic expression, a pulsating heart within the broader theater world that pulsates with the unique rhythms, stories, and perspectives of individuals of Latin American descent living in or connected to the United States. Imagine a vast, intricate tapestry, woven with threads of diverse origins, each strand carrying the weight of history, culture, language, and lived experience. This is the essence of contemporary Latina/o theater. It is a tapestry that is constantly being created, with new artists adding their colors and textures, transforming and reinterpreting the existing patterns. It is a living, breathing entity, reflecting the dynamic social, political, and cultural forces that shape the lives of Latina/o communities today. This form of theater is inherently pluralistic, eschewing a single, monolithic narrative. Instead, it embraces a multiplicity of voices, each with its own distinct timbre and resonance. You will encounter playwrights who draw deeply from their ancestral roots, weaving in the mythology, folklore, and linguistic cadences of their heritage. Others might foreground the immigrant experience, grappling with themes of displacement, assimilation, cultural negotiation, and the search for belonging in a new land. Still others focus on the multifaceted realities of life within the United States, exploring the complexities of identity, race, class, gender, sexuality, and the ongoing struggle for social justice. The thematic concerns within contemporary Latina/o theater are as varied as the people who create it. It can be overtly political, directly confronting issues of immigration policy, racial profiling, economic inequality, and the historical injustices faced by Latina/o communities. It can be deeply personal, delving into the intricacies of family dynamics, romantic relationships, and the internal struggles of individuals navigating their identities. It can be celebratory, joyfully embracing cultural traditions, musical forms, and the vibrant spirit of community. It can be experimental, pushing the boundaries of theatrical form and language, questioning conventions and seeking new modes of storytelling. The geographical scope of this theatrical movement is also expansive. While New York City has long been a significant hub, with institutions like INTAR and Repertorio Español playing crucial roles, the influence and output of Latina/o theater artists can be found in cities across the United States – from Los Angeles and Chicago to Miami and Houston, and countless communities in between. Each region, with its own unique demographic makeup and historical context, contributes to the richness and diversity of this theatrical landscape. The term "Latina/o" itself is a subject of ongoing dialogue and evolution. While it serves as a useful umbrella term for a broad range of cultural and ethnic backgrounds, it is important to recognize that it encompasses a vast spectrum of identities. This includes individuals of Mexican, Puerto Rican, Cuban, Dominican, Central American, South American, and Caribbean descent, each bringing their own distinct cultural heritage and experiences to the theatrical stage. The nuances within these categories – Tejano, Nuyorican, Chicano, Afro-Latino, and many others – all contribute to the intricate mosaic of contemporary Latina/o theater. The artistic approaches employed by these playwrights and theater makers are equally diverse. Some might favor traditional narrative structures, while others embrace non-linear storytelling, fragmentation, and surrealism. You might find works that are heavily reliant on spoken word and poetic language, while others incorporate a rich tapestry of music, dance, visual art, and multimedia elements. The very act of naming these plays, these artists, and these companies is itself a form of cultural reclamation and assertion. Contemporary Latina/o theater is more than just a genre; it is a vital force that challenges dominant narratives, offers alternative perspectives, and provides a platform for underrepresented voices to be heard. It is a testament to the enduring power of storytelling to illuminate the human condition, to foster empathy, and to inspire change. It is a continuous conversation, a dynamic engagement with the present, and a hopeful projection towards the future, all woven together through the compelling and often groundbreaking art of the theater.

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这本书的结构编排堪称教科书级别的示范。从开篇的宏观梳理，到中间不同地域、不同主题剧作的分门别类，再到结尾对未来发展趋势的展望，逻辑脉络清晰得令人赞叹。这种安排极大地便利了不同需求读者的使用。对于初涉此领域的学生来说，可以循着章节的引导逐步建立认知框架；而对于资深研究者而言，那些散落在文本分析中的旁征博引和跨学科对比，则提供了进一步深入研究的线索和突破口。特别是书中对“融合”（hybridity）概念在拉美裔戏剧中的具体呈现所做的比较分析，简直是精彩绝伦。作者们没有将这一概念视为一个静态的标签，而是将其动态地置于文化交流、语言转换（如西班牙语、英语、斯庞格里希语的交织使用）的动态过程中进行考察，使得“混合性”这一概念本身也变得充满张力和生命力。这种对复杂概念进行清晰化处理的能力，体现了编辑团队的专业水准和深厚学养。

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这本书的价值远不止于学术研究的范畴，它对于任何希望了解当代美国文化图景的人来说，都是一份不可或缺的指南。它打破了传统上对拉丁裔群体的刻板印象，用一系列丰富、矛盾、充满生命力的戏剧声音，构建了一个复杂而真实的文化生态系统。书中收录的剧作家们，他们不仅是艺术家，更是历史的记录者和文化的引路人。通过他们的眼睛，我们得以窥见主流叙事之外的那些充满活力的民间智慧和坚韧不拔的精神。我特别喜欢书中对于地域差异的强调，比如德克萨斯边境的叙事和纽约市中心的语境是如何在主题和风格上形成鲜明对比，但又在深层价值上保持一致。这种对“内部多样性”的细致描绘，极大地拓宽了我对“当代拉丁裔文化”这一概念的理解边界。这本书无疑会成为我未来课堂教学和个人研究中反复引用的核心参考资料，其影响深远且持久。

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我得说，阅读这本书的过程，就像是进行了一次精神上的长途旅行。它带来的情感体验是极其丰富和多层次的。有些剧本的片段读起来让人心潮澎湃，充满了对正义的渴望和对社区力量的赞颂，那些充满活力和节奏感的对白，仿佛可以直接听到舞台上的呐喊和欢笑。而另一些篇章则沉重得让人喘不过气，它们直面了跨代际的创伤、家庭关系的断裂以及在体制性排斥下个体的孤独与绝望。作者在转述这些戏剧文本时，保持了一种恰到好处的克制，既没有过度煽情，也没有显得冷漠疏离。这种平衡感使得读者能够自主地与角色建立共情，完成情感上的“代入”与“抽离”。这种阅读体验，远超出了传统学术著作的范畴，更接近于一种具有深刻人文关怀的艺术鉴赏过程。它不仅启发了我的智力，更触动了我的良知，让我对人性的韧性与脆弱有了更深刻的体认。

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这本书的封面设计充满了视觉冲击力，大胆的色彩搭配和富有表现力的字体选择，立刻抓住了我的注意力。内页的排版也相当考究，留白适度，字体清晰易读，阅读体验非常舒适。我尤其欣赏作者在引入各个剧本时所做的背景介绍，那些深入的文化和历史语境分析，让我得以更全面地理解每一部作品的深层意蕴。比如，对于某几个具有强烈社会批判色彩的剧目，作者并未简单地罗列事件，而是巧妙地将其置于当代拉丁裔社群在身份认同、移民困境与文化冲突的宏大叙事之下进行剖析，使得原本可能略显晦涩的舞台语言变得鲜活而富有洞察力。这种对文本背后“活的”历史的挖掘，让阅读不再仅仅是对剧本文字的扫描，更像是一场沉浸式的文化考察。它不仅仅是一本剧作选集，更像是一份详尽的田野调查报告，记录了特定群体在语言和艺术的张力中如何进行自我建构和抵抗。我发现自己经常需要停下来，查阅一些作者提及的历史事件或社会运动，正是这种“主动学习”的乐趣，让阅读过程充满了发现的惊喜。

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作为一名长期关注戏剧理论的学者，我原以为这本选集在学术深度上可能只是停留在对文本的表面解读，但事实证明我的判断过于武断了。作者在分析手法上展现了极高的敏锐度，他们似乎深谙后殖民理论、酷儿理论以及表演学中的身体政治等多个前沿视角，并将这些复杂的理论框架自然而然地融入对具体剧作的论述之中，毫无生硬堆砌之感。例如，在讨论某位剧作家如何解构传统的性别二元对立时，引用的理论文献非常精妙，既有扎实的学术根基，又不失对舞台实践的关照。更难能可贵的是，书中对“声音”（voice）的探讨——不仅仅是剧中人物的台词，更是指被主流文化长期压抑的群体的发声渠道——进行了细致入微的考察。这种对边缘化叙事策略的精细梳理，为我理解当代戏剧的多元化发展提供了全新的分析工具和批判性的参照系。它提供了一种看待舞台的全新镜头，让我意识到剧场不仅是表演的空间，更是权力斗争和身份重塑的战场。

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