Corrientes renovadoras en el teatro dominicano del siglo XX.
Item
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Title
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Corrientes renovadoras en el teatro dominicano del siglo XX.
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Identifier
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AAI3074671
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identifier
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3074671
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Creator
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Mota, Carlos Rafael.
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Contributor
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Adviser: Marlene Gottlieb
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Date
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2003
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Language
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Spanish
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Publisher
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City University of New York.
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Subject
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Literature, Latin American | Literature, Caribbean | Theater
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Abstract
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This dissertation focuses on the Dominican theater of the twentieth century. It is based on the theoretical ideas about the origin and evolution of literary generations of Jose J. Arrom, Jose Ortega y Gasset, and Jose A. Portuondo. Therefore, this investigation is a historical exploration of the works, currents, aesthetics, and tendencies cultivated by the main authors of the generations of 1900, 1930, and 1960. In addition, and to best capture the distinctive atmosphere of each epoch, at times under the perils and the influence of foreign invasions, civil war, and cruelty of oppressive rulers, the selected plays are examined in the light of these sociopolitical issues and their relationship to Spanish-American theater.;Beginning with an overview of pre-twentieth-century trends, as portrayed in the Romantic comedies of Arturo B. Pellerano (1865--1916) and the satiric dramas of Luis A. Bermudez (1854--1917), the corpus of my analysis integrates specific works written by Americo Lugo (1870--1952), Rafael Damiron (1882--1956), Pedro Henriquez Urena (1884--1946), Manuel de Jesus Javier Garcia (1912--?), Manuel Rueda (1912--1999), Armando O. Pacheco (1902--1983), Hector I. Cabral (1912--1979), Maximo A. Blonda (1931--1983), Franklin Dominguez (1931-- ), Ivan Garcia (1938-- ), and Arturo R. Fernandez (1948-- ). The plays studied illustrate the ominous conditions the Dominican theater had to overcome to gain artistic recognition in a country predominantly prone to poetry and narrative.;In my investigation, I sustain that twentieth-century Dominican theater is primarily historical, political, and symbolic. Special attention is placed on the avantgarde, "anti-literary" movements (Existentialism, Epic, Theater of the Absurd, and Post-Modernism) that transformed dramatic production and helped it emerge from gloom and mediocrity to current artistic innovations and achievements. Finally, I also maintain that, due to the overwhelming attraction of the movie industry as well as the fast-changing taste of present and coming generations of people, play writing (and staging) is facing an acute crisis. But this situation, as is well known, is a global problem.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
