In this Book

University of Minnesota Press
summary
The murgas are troupes of performers, musicians, writers, and creators who, during Montevideo’s Carnival, perform on the tablados, temporary stages built in the neighborhoods of Uruguay’s capital city each year. Throughout the period of Uruguay’s subjection to a brutal dictatorship and in the following era of “democratization,” the murgas, envisioned originally as popular theater, were transformed into a symbol of social resistance, celebrated by many and perceived by others as menacing and subversive.

Focusing on the cultural practices of the lower classes and more specifically on the processes and productions of the murgas, Gustavo Remedi’s Carnival Theater is a deeply thoughtful consideration of Uruguayan society’s identity crisis and subsequent redefinition in the wake of the authoritarian-bureaucratic-technocratic regimes of the 1970s. A revealing work of cultural criticism, the book proposes a new set of criteria for the interpretation and critique of national culture.



Table of Contents

  1. Cover
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  1. Series Page, Title Page, Copyright, Dedication
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  1. Contents
  2. pp. vii-viii
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  1. Prologue: Metaphors for Approaching National Culture
  2. pp. ix-xvi
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  1. Acknowledgments
  2. pp. xvii-xviii
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  1. 1. The Interpretation of National Culture from the Site of Popular Cultural Practice
  2. pp. 1-55
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  1. 2. To Open Up the Night: Carnival and the Struggle for a National, Democratic, and Popular Order
  2. pp. 56-99
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  1. 3. Theology of Carnival: The Religious Masks of Carnivalesque Theater
  2. pp. 100-127
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  1. 4. Bodies, Costumes, and Characters
  2. pp. 128-151
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  1. 5. Carnival Celebrates the National Popular Epic
  2. pp. 152-176
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  1. Conclusion: From the Garden of the Comparsas
  2. pp. 177-180
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  1. Appendix: Librettos of Principal Murgas from the Montevideo Carnival, 1988
  2. pp. 181-268
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  1. Notes
  2. pp. 269-290
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