Whiny Ruffians and Rebellious Broads
Tango as a Spectacle of Eroticized Social Tension
Bibliographic Data
| ID | 4553032 |
|---|---|
| Authors | Marta E Savigliano (corresponding author) |
| Year | 1995 |
| Volume | 47 |
| Issue | 1 |
| Pages | 83 |
| Publication date | 1995-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/3208807 |
| OpenAlex | W2333658895 |
| Language | EN |
| Citations received | 10 |
Tango originated in the Rio de la Plata region of Argentina and Uruguay towards the end of the nineteenth century. It is a dramatic expression with multiple faces: music, dance, lyrics, performance, and philosophy. None of these aspects exactly reproduces or reinforces the others. The tango dance stops when the music pulls; the lyrics challenge the dance; the music, syncopated, surprinsingly halts. Starts again. Tango is recognizable in these contrasts and in the tension they generate. And the tension is dramatized in a melodramatic way
Art · Classical mechanics · Physics · Political science · Spectacle · Tension (geology · Diversity and Impact of Dance · Sports and Physical Education Studies
| Citations per year | 0.34 |
|---|---|
| Citation span | 1997 - 2023 (27) |
| Highly cited | No |