El teatro andaluz y sus artistas en Buenos Aires. Trabajo, género y conexiones atlánticas a mediados de siglo XIX
| dc.citation.title | Cuadernos del CIESAL | |
| dc.contributor.orcid | Gabriela Mitidieri https://orcid.org/0000-0002-0039-8720 | |
| dc.creator | Mitidieri, Gabriela | |
| dc.date.accessioned | 2024-08-01T17:40:10Z | |
| dc.date.available | 2024-08-01T17:40:10Z | |
| dc.date.issued | 2024-01 | |
| dc.description.abstract | El presente artículo se interroga acerca del ámbito teatral como un espacio de trabajo y, en particular, de trabajo femenino a mediados de siglo XIX. Al seguir la trayectoria de algunas compañías teatrales o de actores y actrices que realizaron giras entre la ciudad de Cádiz y la ciudad de Buenos Aires, esta exploración propone acercarse a dicha actividad artística con preguntas sobre experiencias laborales migrantes, contratos de trabajo, remuneraciones, nociones de derechos y deberes establecidos con el empleador en los distintos sitios donde comprometieron su labor. La afición que despertó en el público sudamericano, la zarzuela –pieza teatral de origen español que incluía partes cantadas, recitadas e instrumentales- pudo haber funcionado como incentivo para que distintos elencos dramáticos españoles dedicados a aquel género arribaran. Este escrito planea indagar en la escena teatral que se consolidó en la ciudad de Buenos Aires en los años posteriores a la Batalla de Caseros (1852), para distinguir cuáles eran los establecimientos teatrales existentes, qué distintos espectáculos exhibían qué consideraciones sobre estas actrices y sus compañeros de escena eran volcadas en la prensa local y qué tan restrictivo era el acceso. ¿Era posible para los trabajadores y trabajadoras asistir a esas piezas teatrales? ¿Había experiencias diferenciales para hombres y mujeres en tanto que espectadores? A través de un análisis de fondos documentales diversos –censos de población, prensa periódica, documentación municipal de Buenos Aires y de Cádiz- este escrito planea abordar esas preguntas y abrir otras nuevas para conectar mundos del trabajo en clave atlántica. | |
| dc.description.abstract | This article adresses the theatrical field as a work space and, in particular, a female work place in the mid-19th century. By following the trajectory of some theater companies or actors and actresses that toured between the city of Cádiz and the city of Buenos Aires, this research approaches that artistic activity with questions about migrant work experiences, work contracts, payment and notions of rights and duties established with the employer in the different places where they committed their work. The attraction that zarzuela generated among the South American public –a theatrical piece of Spanish origin that included sung, recited and instrumental parts –could have functioned as an incentive for different Spanish dramatic casts dedicated to that genre to arrive. This paper plans to investigate the theater scene that was consolidated in the city of Buenos Aires in the years after the Battle of Caseros (1852), to distinguish which were the existing theater establishments, what different shows exhibited what considerations about these actresses and their scene partners were covered in the local press and how restrictive access was. Was it possible for workers to attendthese plays? Were there different experiences for men and women as spectators? Through an analysis of diverse documentary collections –population censuses, periodical press, municipal documentation of Buenos Aires and Cádiz –this paper plans to address these questions and open new ones to connect worlds of work in an Atlantic key. | |
| dc.description.fil | Fil: Mitidieri, Gabriela. Universidad de Buenos Aires; Argentina. | |
| dc.description.version | peerreviewed | |
| dc.format.extent | 1-27 | |
| dc.identifier.doi | https://doi.org/10.35305/cc.v1i23.152 | |
| dc.identifier.issn | 1853-8827 | |
| dc.identifier.uri | https://hdl.handle.net/2133/27496 | |
| dc.language.iso | es | |
| dc.publisher | Facultad de Ciencia Política y Relaciones Internacionales | |
| dc.relation.publisherversion | https://cuadernosdelciesal.unr.edu.ar/index.php/inicio/article/view/152 | |
| dc.rights | openAccess | |
| dc.rights.holder | Autores y Cuadernos del CIESAL | |
| dc.rights.text | Attribution-NonCommercial-ShareAlike 4.0 International ou are free to: Share — copy and redistribute the material in any medium or format Adapt — remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms: Attribution — You must give appropriate credit , provide a link to the license, and indicate if changes were made . You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. NonCommercial — You may not use the material for commercial purposes . ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. | |
| dc.rights.uri | http://creativecommons.org/licenses/by-nc-sa/4.0/ | |
| dc.subject | Trabajo | |
| dc.subject | Teatro | |
| dc.subject | Buenos Aires | |
| dc.subject | Cádiz | |
| dc.subject | Siglo XIX | |
| dc.title | El teatro andaluz y sus artistas en Buenos Aires. Trabajo, género y conexiones atlánticas a mediados de siglo XIX | |
| dc.type | articulo | |
| dc.type.version | publishedVersion |