Cuba Inside Out: Revolution and Contemporary Theatre

Notes

133 Notes 1. Overture: Cuba and the Evolution of Revolution 1. Dominguez, “Cuba teatro,” 5. 2. Torrance, “Brothers at War,” 292. 3. For a comprehensive study of Arrufat’s textual choices and a comparison with the original Greek text, see Torrance, “Brothers at War.” 4. Cano, “El teatro cubano.” 5. Castro, “Palabras a los intelectuales.” 6. García Luis, Cuban Revolution Reader, 271. 7. Lievesley, Cuban Revolution, 40. 8. Pérez, On Becoming Cuban, 130. 9. Trento, Castro and Cuba, 16. 10. Lievesley, Cuban Revolution, 74. 11. Trento, Castro and Cuba, 18. 12. Leal, Breve historia, 15. 13. Ibid., 30. 14. Ibid., 61. 15. For more information on Cuban stock characters, see Rine Leal’s description of “Los ‘diablitos’ salen al escena” in Breve historia; and Lane, Blackface Cuba. 16. Leal, Breve historia, 121, 123–26. 17. Ibid., 126–28. 18. Trento, Castro and Cuba, 22. 19. García Luis, Cuban Revolution Reader, 1. 20. Lievesley, Cuban Revolution, 52. 21. Pérez, On Becoming Cuban, 197. 22. Fidel Castro quoted in García Luis, Cuban Revolution Reader, 60. 23. Trento, Castro and Cuba, 26. 24. Ibid., 29. 25. Lievesley, Cuban Revolution, 5. 26. García Luis, Cuban Revolution Reader, 25. 27. Lievesley, Cuban Revolution, 27. 28. Fidel Castro quoted in García Luis, Cuban Revolution Reader, 68. 29. Ibid. 30. Lievesley, Cuban Revolution, 11. 31. García Luis, Cuban Revolution Reader, 89. 32. For more information on Cuban theatre history in this period, see Freire, Teatro cubano (1927–1961). 33. Castro, “Palabras a los intelectuales.” 34. Paterson quoted in Lievesley, Cuban Revolution, 14. Notes to Pages 13–24 134 35. Bonefeld and Tischler, What Is to Be Done?, 5. 36. García Luis, Cuban Revolution Reader, 122. 37. Lievesley, Cuban Revolution, 33. 38. García Luis, Cuban Revolution Reader, 126. 39. Bonefeld and Tischler, What Is to Be Done?, 131. 40. García Luis, Cuban Revolution Reader, 117. 41. Ibid., 169. 42. Bonefeld and Tischler, What Is to Be Done?, 6. 43. Lievesley, Cuban Revolution, 94. 44. Ibid., 84. 45. García Luis, Cuban Revolution Reader, 177. 46. Ibid., 4. 47. Dominguez, “Cuba teatro,” 9. 48. García Luis, Cuban Revolution Reader, 209. 49. Ibid., 211. 50. For an in-depth discussion of Teatro Nuevo, see Boudet, En tercera persona, 79–100. 51. For in-depth information about productions by Teatro Escambray, see Leal, Breve historia, 153–62. 52. Lievesley, Cuban Revolution, 102. 53. García Luis, Cuban Revolution Reader, 219. 54. Lievesley, Cuban Revolution, 159. 55. García Luis, Cuban Revolution Reader, 224. 56. Lievesley, Cuban Revolution, 114. 57. García Luis, Cuban Revolution Reader, 231. 58. Ibid., 243. 59. Ibid., 270. 60. Ibid., 272. 61. Lievesley, Cuban Revolution, 125. 62. Bonefeld and Tischler, What Is to Be Done?, 171. 63. Ibid. 64. Carlos Lage quoted in García Luis, Cuban Revolution Reader, 276. 65. The peso convertible (CUC) is state issued currency (introduced in 2004) that serves two purposes—it can be used in the tourist economy, or in the local/peso one. It is worth significantly more than a Cuban peso (MN), so items cost much more if paid for using CUCs than MNs. As of 2011, the peso convertible was equal to the dollar, 1USD:1CUC. One U.S. dollar, however, was worth roughly 25 Cuban pesos, 1USD:25MN. So using CUCs to pay for items listed in MN means spending a great deal more than the average Cuban would. For example, the tickets to most plays in Vedado are either $5 CUC (for tourists) or $5 MN for locals; locals pay roughly 20 cents while tourists pay 25 times as much. 66. For further discussion of the social consequences of the dual currency economy, see Lievesley, Cuban Revolution, 125, and Ritter, “Shifting Realities.” 67. Ibid., 162. 68. Ibid., 180. 69. Scott, Domination and the Arts of Resistance, 25. 70. Ibid., 17. 71. Ibid., 156. 72. Ibid., 157. Notes to Pages 24 –41 135 73. Here I refer to Bataille’s and Foucault’s notions of transgression as an intrinsic component of modern/postmodern life. It is Chris Jenks’s definition of transgression as a “deeply reflexive act of denial and affirmation” of “the bounds or limits set by a commandment or law or convention” (2) that I invoke here. For further discussion of transgression, see Jenks, Transgression. 74. Scott, Domination and the Arts of Resistance, 139. 2. Staging Revolutions: Past and Present Conversations...