Pages The Reception of Darwinism in Uruguay. Biological Evolutionism in Cuba at the end of the Nineteenth Century. The Introduction of Darwinism in Brazil. Darwinism and Botany. Darwinism in Spanish Physical Anthropology. The Mexican Eugenics Society. The Theory of Degeneration in Spain Synonyms and antonyms of puteador in the Portuguese dictionary of synonyms.
Examples of use in the Portuguese literature, quotes and news about puteador. Aquele que puteia. O mesmo que puteiro. PUXA - Subs.
Puxa-saco, adulador. Alberto Juvenal de Oliveira, The traditional plena used three panderetas tuned to lower, medium, and higher pitches respectively, named seguidor, puteador , and A Puerto Rican Charles M Tatum, The traditional plena used three panderetas tuned to lower, medium, and higher pitches respectively, named seguidor, puteador , and requinto.
The two higher- pitched panderetas play interlocking rhythm patterns around the lowest one's Cordelia Candelaria, Peter J. Much more different than the folks next door" GMT The manifesto's theatrical quality, however, derives from the oppositional stance itself and from the rich, often satirical imagery with which these documents construct an absent, adversarial "they" to complete a triadic communicative scheme. In sharp contrast to the images of youth, vitality, power, and authenticity that characterize the speaking "we," the adversary under attack is constructed with images of fossilization, decay, decrepitude, inauthenticity, and physical and emotional malaise.
Thus a sampling of manifestos from numerous countries yields an assortment of similar adjectives used by manifesto speakers to characterize the objects of their attack: "putrid," "rancid," "spongy and sparse," "fossilized," "senile," "sickly,". The dramatic oppositions constructed by these documents imply a reader who will be drawn into the conflict, who will identify with the directly addressed "you" of the youth of America, and, more important, who will recoil from the pejorative imagery of decay and decrepitude surrounding the adversary under attack.
The rhetorical strategies, moreover, imply a reader who is a flesh-and-blood listener and spectator, a live audience witnessing a performance. The nouns and pronouns of direct address, the enumerative declarations of principles, the easily identifiable and simplistic oppositions, and the clipped, telegraphic phrases marked by exaggeration and insult all contribute to the ambience of an oratorical event, scripted in a text to be read aloud, proclaimed, or performed.
In addition, the speaker's cultivation of lyrical prowess and verbal cuteness through comical, insulting, and sometimes scatological one-liners coined to attack the opponent and to characterize the new art reinforces that speaker's identity as a linguistically agile performer. A theatrical transition from manifesting to performing is also intimated in the word manifesto, specifically, in its etymological kinship with the verb to make manifest: to make public, to render concrete, to transpose to the sensorial realm, particularly the visual.
To manifest is to "make palpably evident or certain by showing or displaying" Webster's Third International, ed. One of the fundamental strategies for involving the spectator in the showing is the reliance on enumeration. Perloff notes that this device, a common political strategy for holding audience attention, showed that the futurist authors meant business But I would add that the manifestos' endless lists, itemized by letters, arabic or roman numerals, or simply the repetition of opening phrases such as "as opposed to.
Listing is a form of verbal display, a tactic for pulling out, as if from a magician's hat, one item after another and revealing these to an audience. As the list becomes longer and longer, in particular if it includes short, telegraphic phrases, the cumulative effect on the reader-listener is a sensory bombardment reinforced by the verbal aggression in the manifesto's tone.
The rapid-fire. These lines from the atalayismo manifesto typify this image: "We the atalayistas ask for the super free power of action because this is the only thing that can coil around our waists the belts of the stars. We want. But the manifesto's performative substance derives from more than its oppositional conflict and the ambience of sensorial activity generated by its predilect rhetorical devices. The manifesto's counterposition of divergent attitudes toward art and culture provides the seeds of a story that can be embodied in a dramatic action.
Perloff notes that the futurists often surrounded their manifestos' actual proposals with narratives of the group's activities and discoveries. Elements of such site-specific narratives that make direct or oblique reference to the vagaries of a particular group are present in some Latin American manifestos and vanguardist polemical articles. Through its enactment, this story must imagine its own engaged and informed audience, a spectator who might ultimately play a key role in constructing a new art or culture.
The vanguardist manifestos, Poggioli observed, were often written with a prose that was more "fiction and literature. It is not surprising, then, that vanguardist writers produced manifesto-style creative texts that simultaneously built on the manifesto's performative qualities and developed the narrative seeds that it enclosed. The hybrid creative texts that I call performance manifestos prescribe for concrete public display the new aesthetic relationships and practices espoused in the more straightforward manifestos.
These works enact the stories of adversarial encounters between conflicting views of culture and art, and while the manifesto incorporates the spectator into its communicative scheme,. Not surprisingly, one can often discern explicit connections between these creative works and the authors' more expository writings on art. Generally, however, these performative texts are artistically richer than the average manifesto, and, resisting strict formal or generic classification, they frequently combine poetry, music, dance, narrative, or ritual display.
The purpose of these multimedia performances is to spin a palpable tale of cultural encounter that enacts, through metaperformative strategies and metaphors, specific artistic views. In Latin America, moreover, these ostensibly antimimetic works are strikingly culturally specific and make reference to the specific national historical contexts within which modern artistic activity was to emerge. These texts' performative quality is inextricably linked to their concrete playing out, their "doing," of specific aesthetic positions.
Dramatic codes, as Victor Turner argued, are "doing" codes 33 , and the performance theorist Richard Schechner has similarly defined performance as an "actualizing" activity, one related to "patterns of doing" In the post-Renaissance, literary Western tradition, Schechner argues, these doing patterns are gradually reencoded as patterns of written words that produced modern drama's reliance on a specialized script. But the avant-gardes, he suggests, refocus attention on the "doing aspects" of a script Vanguardist writers did produce theatrical scripts, and I examine these in a separate chapter.
But the more generically hybrid performance texts, with the concretely confrontational quality of a vanguardist manifesto, illustrate an overriding concern with the palpable doing aspects of art. One of the most striking features of the performance manifesto's "doing" of art is its incorporation of the manifesto's speakers and its imagined audiences, both friendly and hostile, into the conflictive story it tells.
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In the futuristic spirit, the performance is to be staged "On the Dawn of the New Day. The oratorio's performers are also characterized by the content of their song and the cues for their performances, and as characters, they represent the adversarial artistic positions embodied in a typical vanguardist manifesto's communicative scheme. Specifically, the piece is organized by an escalating chain of confrontations between the Orientalismos Convencionais traditional artists and the Juvenilidades Auriverdes, rebellious youth with creative projects and steeped in the Brazilian soil.
Predictably the Senectudes Tremulinas support the Orientalismos Convencionais, while Minha Loucura, identified as the. The imagery of their verse identifies the Orientalismos Convencionais with uniformity, unanimity, and rules in art: "No ascents and no verticals whatsoever! Against the Orientalismos' orderly world, the Juvenilidades' verse expresses creative dissonance, passion, and martyrdom for the future cause of a new art. As the confrontation intensifies, the anger and frustration build until the youths collapse in a final delirium.
The other voices recede, night falls, and Minha Loucura chants a lullaby celebrating the Juvenilidades' sacrifice for the art of a new day: "There will still be a sun on tomorrow's gold! The rebellious youths' martyrdom for their aesthetic cause exemplifies what Poggioli labels the "agonistic" moment of vanguardist movements, a moment that poses a hyberbolic image of the artist as victim-hero whose "self-immolation" is the necessary sacrifice for the creation of future art Poggioli 67— The oratorio's conflicting aesthetic positions are played out in the diverse musical styles of their enactment.
They sing with regularity a tempo and repetitively da capo , as a "solemn funeral. As their militancy and passion intensify, the Juvenilidades' renditions run the gamut: "pianissimo," "fantastic crescendo," "in a din," "roaring," "now screaming," "shouting in irregular cadence," and, finally, "mad, sublime, falling exhausted. This composition's contextual markers are evident, particularly its connections with early Brazilian modernismo 's program for change.
The neologistic metaphor "enfibraturas," moreover, encompasses a tone of social and moral position taking as well as the aesthetic "fibratures"—intertwinings of voice, image, and music—of the piece's composition. Thematically, the text itself privileges originality, aesthetic deviation, and passion over tradition, artistic convention, and the socioaesthetic order of things. The allusion through the name Juvenilidades Auriverdes to the colors of the Brazilian flag as well as the youths' choices of imagery place the changes they advocate in the context of the cultural nationalism shaping modernismo.
In keeping with this model, Minha Loucura's lyricism in "As enfibraturas" is shaped by disconnected phrases, and the oratorio as a whole at times overlays the piece's "distribution of voices. The poet's lyricism Minha Loucura provides another link between "As enfibraturas" and the preface's references to "the mad dash of the lyric state" and to a lyric impulse that "cries out inside us like the madding crowd" 18 and 21; JT 8 and The most evident of these is the text's employment of the hyperbolic image, the feature that Poggioli associates with the vanguards' futuristic and apocalyptic tendencies.
Some perform openly from the esplanade of the city's Municipal Theater, while others are spread out around familiar city sites—buildings, parks, the river. Essentially, "As enfibraturas do Ipiranga" is a script for a performance that is fundamentally not performable. An oratorio is by definition a traditionally large-scale production. The characters in that story represent the divergent artistic positions embodied in a typical manifesto's communicative scheme.
Specifically, the manifesto's speaking "we" is enacted by the Juvenilidades Auriverdes with the support of Minha Loucura, with whom they identify and associate. Although several of the oratorio's participating groups introduce themselves with the first person "We are the Orientalismos Convencionais" , only the Juvenilidades are. Most important, "As enfibraturas" recasts the vanguardist manifesto's characteristic two audiences the "you" and the "they" as participating oratorio performers and literally gives them a voice.
As a performance text, the work makes tangible what a manifesto only affirms, that is, the relationship between the "doing" of an artistic composition and the work's intended recipients. The piece's visual qualities are essential for bringing this about. In addition, although an oratorio's action is traditionally embodied in verbal and musical exchange, when "As enfibraturas" culminates with the Juvenilidades' frenzied collapse, a scene to be seen is described: "The orchestra has vanished in fright.
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The maestri have succumbed. Night has fallen, besides; and in the solitude of the thousand-starred night the Green Gilt Youths, having fallen to the ground, are weeping" 62; JT But who is watching? Who sees the orchestra vanish and the night fall? As with the vanguardist manifesto, the speaking "we" in "As enfibraturas," enacted by the Juvenilidades with support from Minha Loucura, addresses two audiences. The adversarial audience, against whom the speaker assumes a specific aesthetic identity, is defined in the more palpable terms. Embodied in the Orientalismos Convencionais traditional artists , this group is supported by the bourgeois and millionaire Senectudes Tremulinas, designated with a name that recalls the imagery of malaise and decrepitude employed to characterize the typical manifesto's oppositional "they.
Although this adversarial group participates in the performance, moreover, it is also assigned a more explicitly audience-style identity in the city's final response to the Juvenilidades' program for aesthetic reform. As Minha. Loucura concludes the final lullaby to the Juvenilidades, the latter sleep "eternally deaf" to the "enormous derision of whistles, catcalls, and stamping of feet" that bursts forth from around the city 64; JT As with the "you" of a vanguardist manifesto, the oratorio's other audience is openly addressed as the reader, defined as a virtual listener and watcher for the performance of "As enfibraturas.
At one point, while the Orientalismos Convencionais enumerate the conventions they favor, the endless series becomes a list of repeated suffixes preceded by blank words: "——— cidades," or, in English,"——— cities. Although here the text offers a choice of allegiances, it subsequently instructs the reader-spectator which side to favor. As the Juvenilidades collapse in exhausted rage, they emit a final outburst against their detested opponents: "Seus ———!!! The reader is directed to complete the expletive with the filthiest word known, a move incorporating this implicit spectator into the performance that would be witnessed as well as the Juvenilidades' program for aesthetic reform.
Both of these audiences are essential for dramatizing the performance text's story of Brazilian modernismo.
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The negative response to the Orientalismos Convencionais assigned to the oratorio's directly addressed audience casts that reader-spectator as the illusory, supportive audience necessary for the Juvenilidades' program of cultural renewal. Published in by Xavier Icaza, a writer with estridentismo connections, Magnavox prescribes a performance on an equally panoramic scale. Comparable to "As enfibraturas do Ipiranga," this text's generic identity is ambiguous, presenting a synthesis of theater, narrative, and polemic.
Synonyms and antonyms of puteador in the Portuguese dictionary of synonyms
This generic ambiguity, noted by John S. Brushwood in his study of vanguardism in Icaza's work 10 , also characterizes Icaza's most experimental novel, Panchito Chapopote Moreover, lists of the author's literary productions appearing in later works often include the piece under "theater.
According to the preface, Icaza wrote Magnavox when he returned to Mexico after a year's absence and sought to present "the panorama of today's Mexico" Specifically, he explains, the text seeks to dramatize conflicting ideological perspectives vying for control of Mexico's social and cultural future: the idealistic-mystic, the conservative-practical, the leftist-Communist, and the autochthonous-nationalist. In Magnavox , these views are played out by individual voices seeking to address Mexico's people. These addresses are physically laid out in the text like the dialogue in a play.
The dialogue is intercalated with narrative interventions that provide social background and historical summary. These narrative sections consist of the clipped, synthetic statements characteristic of vanguardist creative works and manifestos but are also, as Brushwood has pointed out, analogous to stage directions in a play Statements such as "Mexico remakes itself" 23 , "Elections. The people don't go to the polls" 26 , and "Nobody pays attention" 30 are typical of these "stage directions. As a performance text, Magnavox is organized into six scenes separated by these stylized narrative sections.
In the initial scene, following narrative stage directions about the state of the nation, various segments of the population, including a reactionary, a missionary, teacher, and an Indian, speak to illustrate the point. Each of the following four scenes consists of a "discurso" or speech by a voice representing one of the four ideological positions in contention for Mexico's future. Each speech is followed by its reception among various segments of society.
Three of the four speeches emanate from a separate. A man, humble in demeanor and dress, stands on a pyramid surrounded by cacti and faces a volcano. A periscope-style loudspeaker protrudes from its crater, and two more look out from alongside it. Because of his location facing the volcano with his back to the implicit reader and potential "onstage" spectator of Magnavox , this man can be seen as the intended audience of the loudspeaker's performance. The second voice, that of an Italian journalist urging Mexico to emulate the southern cone countries by encouraging immigration and foreign investments, emanates from a loudspeaker in Ixtlaccihuatl.
From the peak of Orizaba, a third loudspeaker projects Lenin's voice amid thunderbolts, proletarian canons, and the notes of the Internationale. These performances elicit various responses from the chorus of scientists, the "indignant" students of America, the chorus of the mediocre, and even from Romain Rolland from the Alps and Alfonso Reyes from the Eiffel Tower.
But ordinary Mexican people, the intended audience for the magnavox speeches, only ignore what they hear, yawn, laugh, dance, cry, or shrug their shoulders. As Icaza spells out in the work's preface, Magnavox favors the fourth speech, that is, the autochthonous-nationalist perspective on Mexico's future.
Following the first three speeches delivered through loudspeakers, Shakespeare takes the stage to explain the meager response from ordinary people: "Words, words, words. Those are pure talkers" Eliciting sparks as he strikes the pyramid of the sun, Rivera speaks, advocating works over words: "Let us learn from the pyramid builders.
Let us continue their interrupted work. Let us realize Mexican works. It is imperative to be of the country. It is imperative to express Mexico" Significantly, Rivera is the only speaker to address his audience without a magnavox and the only one to capture unified public attention and receive a positive reception: "Creative masses have gathered at the foot of the pyramid. Painters, some literati, agronomists, teachers, all resolved to realize Mexican works" The manifesto qualities of Magnavox operate on multiple levels.
The piece dramatizes conflicting views on Mexico's future and the reception of those views by an explicit audience, Mexico's people. By enacting the story of that conflict, the work establishes a concrete relationship with debates about Mexican cultural and aesthetic autonomy that provide a context for estridentismo activity. These debates, which included Vasconcelos's tributes to cultural mestizaje, also surround vanguardist production in the visual arts, in particular the work of Diego Rivera and other muralists.
Comparable to "As enfibraturas do Ipiranga" in this sense, Magnavox openly advocates an autochthonous position for shaping culture and ideology. In addition, the work acts out the more explicitly estridentista position on the engagement of art with life, a view of art as only one of several forms of action that ought to constitute a modern and dynamic Mexican scene. This implicit integration of artistic activity with other kinds of work is often evident in the piece's narrative stage directions: "The students organize themselves.
The workers unionize. The farmers unite. The artists don't let go of their paintbrushes. The writers, although nobody notices them, persevere and write" 27— The rhetorical strategies employed in Magnavox also contribute to the ambience of a performance manifesto.
All of the work's speakers, including the external narrative voice that emits the clipped stage directions and the internal voices addressing Mexico's people, speak with affirmative, polemical maxims in the manifesto mode: "It is imperative to make a nation," "It is imperative to create," or "It is imperative to be Mexicans" 28, Let us continue their work uninterrupted. Let us realize Mexican work" Through its incorporation of the vanguardist manifesto's hyperbolic imagery, Magnavox is the script for as unperformable a performance as the Brazilian "As enfibraturas do Ipiranga.
Moscow, the Alps, and Argentina, with interventions from such totalizing characters as "the students of all America. But the most marked performative and manifesto quality in Icaza's text is the tension between doing and words, between the dynamically visual and the auditory. Both "As enfibraturas" in its subtitle "Profane Oratorio "; my emphasis and Magnavox in its title invoke communicative forms sustained by sound. Diego Rivera gives his cane an Apizaco strike, producing sparks on the top of the pyramid of the sun" And after his speech: "Diego Rivera descends with a sure step, with his head held high, and with a thick cane" This performative interaction of the visual with the verbal is further underscored in the text's use of the woodcut to depict graphically its own performative situation.
The scene of the Mexican man facing the magnavoxes emerging from the volcanoes emphasizes that the work's performance is something to be seen as well as heard. In the text's privileging of visible work and action over words, moreover, this woodcut lays bare the performance metaphors that Magnavox employs to make its point.
The image of a loudspeaker inside a volcano is more than an obvious juxtaposition of the modern with the indigenous, or of technology with nature. It also presents a farcical play-within-theplay, a palpable image for the duplicity of the theatrical that embodies something disguised as, playing the part of, or representing something else. Though they might appear to spring forth from the volcanoes, the voices the loudspeakers magnify actually come from somewhere else, as Vasconcelos speaks from New York, the Italian journalist from Argentina, and Lenin from Moscow.
More important, the magnavox projects a technological duplication, amplification, and distortion of the human voice; the result lacks that voice's immediacy and presence and also, the text's deceptive imagery suggests, its power. By contrast, Rivera's lightning-inducing voice is cast as unmediated and immediate, visually. Like theater that seeks to abolish the theatrical, Rivera's brief speech calls for the end of speeches in favor of creativity and action: "There is no need to talk.
The Indian does not pay any attention because he is too intelligent and senses that words are superfluous. One must do things. One must create" Extending the performative metaphor, the reaction to Rivera's speech to the assembled "creative masses," including painters, writers, and farmers resolved to carry out "Mexican work," constitutes a kind of cataclysmic Artaudian visual theater of passionate movement.
Tocotines y Santiagos lo rodean Rivera , en danza gigantesca. Algo flota en el aire. El aire se estremece.
Es que ya Quetzalcoatl torna a vivir entre los suyos. Tocotines and Santiagos surround him, in a gigantic dance. The pyramids appear to revive. Something floats in the air. The Eagle and the Serpent triumph from a red sun. The holocaust is ignited on the pyramid. A violent gust extinguishes it and flames appear on the heights of the mountains that oppress the valley.
The prophecies are fulfilled. The air trembles. It seems that Quetzalcoatl is now returning to live among his own. Because Rivera's direct address is the only one to cross the line between speaker and audience and elicit a respo9nse, his words undermine the mediated experience embodied in the magnavox and suggest cultural forms that might abolish the distances between performer and audience, art and life. As in "As enfibraturas do Ipiranga," Magnavox dramatizes its own reception and poses two different kinds of audience. Duplicating the tension I have noted in vanguardist manifestos between the desire to speak directly to other artists and the desire to reach a mass audience, Magnavox poses two levels of performance and reception.
In this vein, it is noteworthy that the Mexican piece was composed during the postrevolutionary era of educational reform and literacy campaigns undertaken through Vasconcelos's leadership in the Ministry of Public Education. Thus, within the narrative frame and at the level of the theatrical dialogue, the piece dramatizes efforts to reach the intended recipients of the four "discursos," that is, the various segments of Mexico's population who alternately ignore and respond to what they hear. Revealing the performance manifesto's ambivalence toward.
It is mentioned in the narrative stage directions and addressed in the four speeches. When it fails to respond to the magnavox speeches, this audience is described as an indifferent "they. At the level of the narrative frame itself, however, it becomes clear that the authorial voice that provides the stage directions for the piece's performance is speaking not to "the masses" addressed by Rivera but to somebody else.
In the work's closing scene, as a cacophony of overlapping voices suggests that Mexico's future remains unresolved, that authorial voice becomes more polemical and delivers its own "discurso," to the simultaneously broadly defined and elite audience typical of the vanguard manifesto: "But the select group reacts.
American Sarmiento: Tras los pasos de un viaje que cambió la historia argentina
It launches its cry of nonconformity" 45; my emphasis. This group, the narrative voice declares in conclusion and once again echoing a manifesto's futuristic tone , is "that youth of ours" in whose hands lies "the security of a brilliant future, child of its creative impetus" It is this elusive and illusory creative audience, youthful builders of the future, that the principal performer in Magnavox dearly desires to reach. In its parody of bourgeois art and its deployment of musical motifs, this piece resembles "As enfibraturas do Ipiranga," but in combining vanguardist strategies with a multitude of colloquial linguistic forms, it places even greater emphasis on language play in an exaltation of living speech.
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The piece also embodies the Nicaraguan vanguardists' affirmation of autochthonous art. The materialist idyll is abruptly interrupted by death, who whisks them all away in her bag. In contrast to the labored rhymes and banal imagery emanating from the pueta, the rest of the piece unfolds in a range of popular verse, repetitive rhymes, wordplays, tongue twisters, and onomatopoetic play shaping the speech of other characters. It is primarily the pueta himself and the language of his art that enact the play's critique of conventional art. The young artist seduces the object of his affection with compulsive versification, an unwitting parody of the labored rhyme schemes and overdone metrical patterns, metaphors, and synesthesias of bad poetry:.
On the one hand, the group's stated goal was to disseminate in Nicaragua "the vanguard techniques that have dominated in the world for more than ten years but are almost unknown in Nicaragua" MPP This enterprise was undertaken through the translation of French and North American poets. The ultimate purpose of this aesthetic modernization campaign, on the other hand, was to enable young writers to "feel the nation," to "express national emotion," to "give free rein to the emotion of existing and being ser y estar in Nicaragua," and, above all, to "undertake the artistic re-creation of Nicaragua" MPP — To this end, the young poets affirmed their intention to create national poetry, national theater, and national painting, sculpture, music, and architecture.
Although the Nicaraguan work does not unfold on the panoramic scale that shapes "As enfibraturas do Ipiranga" and Magnavox , it, too, is marked by the hyperbolic imagery typical of a vanguardist manifesto. As with "As enfibraturas do Ipiranga," the piece's adversarial, indirectly addressed audience—the audience that corresponds to the vanguardist manifesto's "they"—is embodied in major characters. Here, however, the work's implicit, speaking "we" that defines itself in opposition to the pueta 's art is embodied not in concrete characters but rather in the work's own parodic form.
This nonlinear organization of an aesthetic exercise is comparable to the distribution of overlapping voices in "As enfibraturas do Ipiranga. As I have noted, the image of a dynamic speaker is fundamental for constructing the vanguardist manifesto's speaking "we. The interaction among characters is a fundamentally linguistic relationship, developed through the symphony of sounds they create together. Essentially, the work contrasts two views of art by contrasting two kinds of performance.
This digestive allusion calls to mind the Brechtian designation "culinary theater" for the tradition his experimental epic theater sought to challenge. As I have demonstrated, the bourgeois family and its poet-in-residence incarnate an implicit audience whose artistic tastes and behavior are attacked the vanguardist manifesto's "they".
Latin American Vanguards
But although it is not embodied onstage, another audience is invoked. The "you" that this present spectator implies, however, exemplifies the vanguardist manifesto's ambivalence toward the audience it is attempting to reach as well as the tensions in vanguardist discourse between art for the few and art for the many. The ballet's script constructs a scene and prescribes character actions, movement, and gestures in order to enact a confrontation between two cultural orientations toward performance: the mak-.
A sugarcane field and palms form a backdrop, behind which three enormous stylized sugar mill chimneys loom over the scene. The unfolding encounter is cast as two competing performances, two plays-withinthe-ballet, with the guajiro as a captive audience. To underscore this division between actors and spectators onstage, the businessman and the Jimaguas wear masks, move like automatons, and appear "unreal and monstrous" OC 1: