Home Is Where the (He)art Is: The Family Romance in Late Twentieth-Century Mexican and Argentine Theatre
In Home Is Where The (He)art Is Sharon Magnarelli employs a variety of contemporary critical approaches to examine the dramatic works written or performed between 1956 and 1999. Focusing on plays by Griselda Gambaro, Eduardo Rovner, Sabina Berman, Diana Raznovich, Roberto Cossa, Hugo Arguelles, Marcela del Rio, and Luisa Josefina Hernandez, Magnarelli demonstrates how the playwrights engage with family relationships to comment on sociopolitical issues of national and international...
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In Home Is Where The (He)art Is Sharon Magnarelli employs a variety of contemporary critical approaches to examine the dramatic works written or performed between 1956 and 1999. Focusing on plays by Griselda Gambaro, Eduardo Rovner, Sabina Berman, Diana Raznovich, Roberto Cossa, Hugo Arguelles, Marcela del Rio, and Luisa Josefina Hernandez, Magnarelli demonstrates how the playwrights engage with family relationships to comment on sociopolitical issues of national and international significance while simultaneously challenging dramatic conventions and theatrical representation. This study provides readings of plays that have already attracted significant critical attention. It also serves as a useful introduction to the modern theater of Mexico and Argentina for the interested non-specialist.
Acknowledgments 9Introduction 11Pt. I The Family Unit(ed), or the Holy Trinity1 Sub/In/Di-verting the Oedipus Syndrome in Luisa Josefina Hernandez's Los huespedes reales 352 Authoring the Scene, Playing the Role: Mothers and Daughters in Griselda Gambaro's La malasangre 533 The Family Romance in Escarabajos by Hugo Arguelles: Repositioning the Mirror 754 The Family Drama: Ambiguous Places of Seduction and Memory in Roberto Cossa's El saludador 955 Homo sapiens? by Marcela del Rio: Who Framed the Family? 119Pt. II After the Great Divide6 Fathering the Nation in Sabina Berman's Entre Villa y una mujer desnuda 1457 Performing Motherhood: Griselda Gambaro's De profession maternal and Hugo Arguelles's La esfinge de las maravillas 1718 Of Mothers, Gauchos, Knishes, and Desire: Transculturation in Eduardo Rovner's Volvio una noche 1919 More Mothers and Daughters in Performance: Simulacra and Commodification in Diana Raznovich's Casa Matriz 214Notes 235Works Cited 277Index 286
