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Books > Reference & Interdisciplinary > Interdisciplinary studies > Area / regional studies
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Performance, Theatre, and Society in Contemporary Nicaragua - Spectacles of Gender, Sexuality, and Marginality (Hardcover)
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Performance, Theatre, and Society in Contemporary Nicaragua - Spectacles of Gender, Sexuality, and Marginality (Hardcover)
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Since coming to power in 2007, the Sandinista Front of National
Liberation (FSLN) has proclaimed itself the "government of the
poor" and the "government of peace and reconciliation."
Accordingly, the regime has endeavoured to control and manipulate
the symbols, social images, important spaces, and situations of
popular struggles for social justice in the country. Under the
watch of Daniel Ortega's administration, Nicaragua has become a
country where an extraordinary effort is put into social
spectacles, propaganda, and theatricality to create the impression
of social and economic transformation. While the current regime
orchestrates impressive social performances in support of its
power, there are other social spectacles marking Nicaragua's urban
landscape that tell a different story. performances in support of
its power, there are other social spectacles marking Nicaragua's
urban landscape that tell a different story. These mine the gap
between experiences and promises in today's Nicaragua. The exhibit
of suffering bodies in public national spaces as political weapons
by pesticide victims, as well as a transvestite circus spectacle in
Managua redefine spaces and states of "invisibility" and
"visibility" by articulating social positions through performance.
The bodies of these Nicaraguans--refusing to be invisible--show
Nicaragua's ongoing social drama of a predominant social power
relation of inclusion and exclusion within a narrative intersected
by political power, marginality and theatricality. As
spectacularized bodies, they become avenues for showing processes
of structural violence. Although there has been some excellent
academic research focusing on performance or/and theatre in
Nicaragua, such scholarship seldom attends to the very important
connections between daily staged public social acts and local,
national/global politics that deal directly and indirectly with
marginalized social/cultural landscapes in this country. This book
fills the gap by examining the connections between Nicaragua's
marginalized landscapes and bodies, between social/political
visibility and invisibility, and the relationship between social
abandonment and social encompassment in the nation. This is an
important book for performance studies, social cultural
anthropology, theatre studies and Latin American studies. This book
is in the Cambria Contemporary Global Performing Arts Series
(general editor: John Clum, Duke University) and includes rare
images.
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