"Our Land Is Made of Courage and Glory: Nationalist Performance of
Nicaragua and Guatemala "adds to a growing and timely body of work
on nationalist drama. Examining important twentieth-century plays
that few people have written about in English, E. J. Westlake
analyzes the phenomenon of nation as performance by focusing on the
definition of a people, national metaphors, and the uses of
national history.
Westlake discerns the common characteristics that constitute
nationalist plays, a genre that seeks to legitimate the nature of a
nation by defining its boundaries, race, language, citizens, and
history. Particularly relevant in an era influenced by imperialism,
migration, and globalization, the volume probes the concepts of
nation and nationalism in the context of postcolonial literary and
performance theory.
"Our Land Is Made of Courage and Glory "covers the political and
theatrical history of Nicaragua and Guatemala. Westlake examines
how the blending of races factors into nationalism with a look at
the play "El tren amarillo "by Manuel Galich and uses Nobel
laureate Miguel Angel Asturias's "Soluna "to show how nationalists
appropriate Mayan culture to create a sense of the Guatemalan
people and culture. She discusses the mapping of history as a
linear progression in Alan Bolt's "Banana republic "and as a cycle
of patricide in "Por los caminos van los campesinos "by Pablo
Cuadra. Westlake also suggests that Rolando Steiner's "La noche de
Wiwili, "a play taken from an eyewitness account, acts as a site of
official national memory, and she examines as well the canonizing
of the folk ballet "El Gueguence "to further explore the notion of
sites of memory versus lived memory.
Raising essential questions about the future of nationalism and
nationalist performance, "Our Land Is Made of Courage and Glory
"will be of interest to scholars and students in drama, Latin
American theatre studies, political science, and history.
General
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