Tamara Underiner
Biographic Data
| ID | 4860450 |
|---|---|
| NAME | Tamara Underiner |
| GIVEN NAMES | Tamara |
| FAMILY NAME | Underiner |
| SIGNATURE | UNDERINER T |
| AFFILIATIONS | Graduate College, Arizona State University, Tempe, AZ, USA |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Theatre Histories
Commemorative drama and Carnival
This chapter considers commemorative drama and Carnival, including instances in which the commemorative and the carnivalesque are combined in the same occasion, from the second century in China through the sixteenth in Europe. It focuses primarily on religious observances that lend themselves to commemorative performances: the Jewish Purim shpil, the Islamic Ta’ziyeh, India’s Ramlila, and the many forms of Christian ritual and drama, designed to …
Performances of Suffering in Latin American Migration
Central to the Christian worldview is the idea that suffering is redemptive. For Ana Puga and Victor Espinosa, “undocumented migrants have become an emblem of human suffering in the age of neoliberal globalization” (5), and they want to know if their particular suffering—translated into melodramatic performances by journalists, novelists, playwrights, filmmakers, photographers and other visual artists, and migrants themselves—can also serve a red…
Of models and mechanisms
Growing from a multi-year and multidisciplinary research and applied arts investigative team based in North America, this essay presents a model of how performative engagements contribute to individual behavioural change in wellness practices. To be even more specific, this essay analyses and theorises the mechanisms involved in the application of one particular art form to one particular pre-condition for health. The art form: applied theatre. T…
Playing at Border Crossing in a Mexican Indigenous Community…Seriously
Deep within Mexico, an indigenous community offers tourists the chance to take on the roles of immigrants in a simulated border crossing experience, opening itself to charges that it is a “training camp” for illegal immigration to the United States. On the contrary, it functions as a highly politicized community performance aimed at cultural preservation and assertion, which are both threatened and enabled by the scenario of migration
Rabinal Achi
Reviewed by: Rabinal Achi: A Mayan Drama of War and Sacrifice Tamara Underiner Rabinal Achi: A Mayan Drama of War and Sacrifice. Translated and interpreted by Dennis Tedlock. New York: Oxford University Press, 2003; pp. x + 361. $35.00. Dennis Tedlock's translation of the Rabinal Achí provides an extraordinarily well-researched new English-language version of the only scripted record of a pre-Columbian dance drama. This drama recounts historical …
Notes from the Ivory Labyrinth of Solitude
Chicano Drama
Jorge Huerta's Chicano Drama: Performance, Society and Myth, is part of his ongoing project to chronicle developments and trends in Chicana/o theatre. This volume picks up where his last, Chicano Theater: Themes and Forms (1982), left off—roughly with the Broadway production of Zoot Suit in 1979, although he re-covers some familiar territory from the earlier book in order to provide historical and biographical context for the present focus on pla…
Beyond Recognition, Beholden
Incidents of Theatre in Chiapas, Tabasco, and Yucatan
In a public square in San Crist?bal de las Casas, Chiapas a masked, robed figure appears in front of a makeshift proscenium. To a casual observer, this figure looks like a Spanish missionary from the 16th century. It actually represents the Mayan Earth Lord, in a play about the origins of the Zapatista uprising, staged by a local Mayan theatre troupe. The play has also been staged in the Lacandon jungle and for crowds of international observers i…
Incidents of Theatre in Chiapas, Tabasco, and Yucatan
In a public square in San Crist?bal de las Casas, Chiapas a masked, robed figure appears in front of a makeshift proscenium. To a casual observer, this figure looks like a Spanish missionary from the 16th century. It actually represents the Mayan Earth Lord, in a play about the origins of the Zapatista uprising, staged by a local Mayan theatre troupe. The play has also been staged in the Lacandon jungle and for crowds of international observers i…
Incidents of Theatre in Chiapas, Tabasco, and Yucatan
In a public square in San Crist?bal de las Casas, Chiapas a masked, robed figure appears in front of a makeshift proscenium. To a casual observer, this figure looks like a Spanish missionary from the 16th century. It actually represents the Mayan Earth Lord, in a play about the origins of the Zapatista uprising, staged by a local Mayan theatre troupe. The play has also been staged in the Lacandon jungle and for crowds of international observers i…
Beyond Recognition, Beholden
Chicano Drama
Jorge Huerta's Chicano Drama: Performance, Society and Myth, is part of his ongoing project to chronicle developments and trends in Chicana/o theatre. This volume picks up where his last, Chicano Theater: Themes and Forms (1982), left off—roughly with the Broadway production of Zoot Suit in 1979, although he re-covers some familiar territory from the earlier book in order to provide historical and biographical context for the present focus on pla…
Rabinal Achi
Reviewed by: Rabinal Achi: A Mayan Drama of War and Sacrifice Tamara Underiner Rabinal Achi: A Mayan Drama of War and Sacrifice. Translated and interpreted by Dennis Tedlock. New York: Oxford University Press, 2003; pp. x + 361. $35.00. Dennis Tedlock's translation of the Rabinal Achí provides an extraordinarily well-researched new English-language version of the only scripted record of a pre-Columbian dance drama. This drama recounts historical …
Notes from the Ivory Labyrinth of Solitude
Playing at Border Crossing in a Mexican Indigenous Community…Seriously
Deep within Mexico, an indigenous community offers tourists the chance to take on the roles of immigrants in a simulated border crossing experience, opening itself to charges that it is a “training camp” for illegal immigration to the United States. On the contrary, it functions as a highly politicized community performance aimed at cultural preservation and assertion, which are both threatened and enabled by the scenario of migration
Of models and mechanisms
Growing from a multi-year and multidisciplinary research and applied arts investigative team based in North America, this essay presents a model of how performative engagements contribute to individual behavioural change in wellness practices. To be even more specific, this essay analyses and theorises the mechanisms involved in the application of one particular art form to one particular pre-condition for health. The art form: applied theatre. T…
Performances of Suffering in Latin American Migration
Central to the Christian worldview is the idea that suffering is redemptive. For Ana Puga and Victor Espinosa, “undocumented migrants have become an emblem of human suffering in the age of neoliberal globalization” (5), and they want to know if their particular suffering—translated into melodramatic performances by journalists, novelists, playwrights, filmmakers, photographers and other visual artists, and migrants themselves—can also serve a red…
Theatre Histories
Commemorative drama and Carnival
This chapter considers commemorative drama and Carnival, including instances in which the commemorative and the carnivalesque are combined in the same occasion, from the second century in China through the sixteenth in Europe. It focuses primarily on religious observances that lend themselves to commemorative performances: the Jewish Purim shpil, the Islamic Ta’ziyeh, India’s Ramlila, and the many forms of Christian ritual and drama, designed to …
Art (7 works) · History (6 works) · Sociology (6 works) · Drama (5 works) · Law (5 works) · Political science (5 works) · History (4 works) · Literature (4 works) · Aesthetics (3 works) · Indigenous (3 works)