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Coordination with other Unions; 3. Resources; 4. Contributions; possible extension of previous budget; 5. Fees and charges; 6. Working capital fund; 7. Advances by host Government; 8. Provisions susceptible of amendment by the Assembly; proposals 2. Adoption; 3. Objective; 2. Conferences; 3. Ratification, accession; possibility of excluding certain provisions; withdrawal of exclusion; 2.

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Sinopsis Julio by Punta Cable - Issuu

The countries of the Union, being equally animated by the desire to protect, in as effective and uniform a manner as possible, the rights of authors in their literary and artistic works,. Recognizing the importance of the work of the Revision Conference held at Stockholm in ,. Consequently, the undersigned Plenipotentiaries, having presented their full powers, recognized as in good and due form, have agreed as follows:.

The countries to which this Convention applies constitute a Union for the protection of the rights of authors in their literary and artistic works. Article 2 Protected Works: 1. This protection shall operate for the benefit of the author and his successors in title. Works protected in the country of origin solely as designs and models shall be entitled in another country of the Union only to such special protection as is granted in that country to designs and models; however, if no such special protection is granted in that country, such works shall be protected as artistic works.

Right to make collections of such works. Article 3 Criteria of Eligibility for Protection: 1. The performance of a dramatic, dramatico-musical, cinematographic or musical work, the public recitation of a literary work, the communication by wire or the broadcasting of literary or artistic works, the exhibition of a work of art and the construction of a work of architecture shall not constitute publication.

Article 5 Rights Guaranteed: 1. Consequently, apart from the provisions of this Convention, the extent of protection, as well as the means of redress afforded to the author to protect his rights, shall be governed exclusively by the laws of the country where protection is claimed. However, when the author is not a national of the country of origin of the work for which he is protected under this Convention, he shall enjoy in that country the same rights as national authors. If the country of first publication avails itself of this right, the other countries of the Union shall not be required to grant to works thus subjected to special treatment a wider protection than that granted to them in the country of first publication.

The Director General shall immediately communicate this declaration to all the countries of the Union. Article 6 bis Moral Rights: 1. Means of redress. However, those countries whose legislation, at the moment of their ratification of or accession to this Act, does not provide for the protection after the death of the author of all the rights set out in the preceding paragraph may provide that some of these rights may, after his death, cease to be maintained.

Article 7 Term of Protection: 1. The countries of the Union shall not be required to protect anonymous or pseudonymous works in respect of which it is reasonable to presume that their author has been dead for fifty years. The provisions of the preceding Article shall also apply in the case of a work of joint authorship, provided that the terms measured from the death of the author shall be calculated from the death of the last surviving author. Article 8 Right of Translation. Authors of literary and artistic works protected by this Convention shall enjoy the exclusive right of making and of authorizing the translation of their works throughout the term of protection of their rights in the original works.


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Article 9 Right of Reproduction: 1. Sound and visual recordings. Article 10 Certain Free Uses of Works: 1. Indication of source and author. Of works seen or heard in connection with current events. Nevertheless, the source must always be clearly indicated; the legal consequences of a breach of this obligation shall be determined by the legislation of the country where protection is claimed. In respect of translations. Article 11 bis Broadcasting and Related Rights: 1. Recording; ephemeral recordings. They shall not in any circumstances be prejudicial to the moral rights of the author, nor to his right to obtain equitable remuneration which, in the absence of agreement, shall be fixed by competent authority.

It shall, however, be a matter for legislation in the countries of the Union to determine the regulations for ephemeral recordings made by a broadcasting organization by means of its own facilities and used for its own broadcasts. The preservation of these recordings in official archives may, on the ground of their exceptional documentary character, be authorized by such legislation.

Article 11 ter Certain Rights in Literary Works: 1. Authors of literary or artistic works shall enjoy the exclusive right of authorizing adaptations, arrangements and other alterations of their works. Seizure on importation of copies made without the author's permission. Article 14 Cinematographic and Related Rights: 1.

No compulsory licenses. Certain other contributors. The owner of copyright in a cinematographic work shall enjoy the same rights as the author of an original work, including the rights referred to in the preceding Article. However, it shall be a matter for the legislation of the country of the Union where protection is claimed to provide that the said undertaking shall be in a written agreement or a written act of the same effect.

The countries whose legislation so provides shall notify the Director General by means of a written declaration, which will be immediately communicated by him to all the other countries of the Union. Article 15 Right to Enforce Protected Rights: 1. In the case of anonymous and pseudonymous works; 4. In the case of certain unpublished works of unknown authorship. This paragraph shall be applicable even if this name is a pseudonym, where the pseudonym adopted by the author leaves no doubt as to his identity.

The provisions of this paragraph shall cease to apply when the author reveals his identity and establishes his claim to authorship of the work. The Director General shall at once communicate this declaration to all other countries of the Union. Article 16 Infringing Copies: 1. Applicable law.

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David Guzik :: Génesis 3 – La tentación y caída del hombre

Special cases. In the absence of such provisions, the respective countries shall determine, each in so far as it is concerned, the conditions of application of this principle. Article 19 Protection Greater than Resulting from Convention. The provisions of this Convention shall not preclude the making of a claim to the benefit of any greater protection which may be granted by legislation in a country of the Union. The Governments of the countries of the Union reserve the right to enter into special agreements among themselves, in so far as such agreements grant to authors more extensive rights than those granted by the Convention, or contain other provisions not contrary to this Convention.

The provisions of existing agreements which satisfy these conditions shall remain applicable. Appendix part of Act. Article 22 Assembly: 1. Rules of procedure. The International Bureau shall communicate the said decisions to the countries members of the Assembly which were not represented and shall invite them to express in writing their vote or abstention within a period of three months from the date of the communication.

If, at the expiration of this period, the number of countries having thus expressed their vote or abstention attains the number of countries which was lacking for attaining the quorum in the session itself, such decisions shall take effect provided that at the same time the required majority still obtains. Article 23 Executive Committee: 1. In establishing the number of seats to be filled, remainders after division by four shall be disregarded. Article 24 International Bureau: 1. Other tasks. Each country of the Union shall promptly communicate to the International Bureau all new laws and official texts concerning the protection of copyright.

The Director General, or a staff member designated by him, shall be ex officio secretary of these bodies. Article 25 Finances: 1. Auditing of accounts. The share of the Union in such common expenses shall be in proportion to the interest the Union has in them. Class I Class II Class III Class IV Class V Class VI Class VII Any country may change class. If it chooses a lower class, the country must announce it to the Assembly at one of its ordinary sessions. Any such change shall take effect at the beginning of the calendar year following the session.

However, any organ of the Union may allow such a country to continue to exercise its vote in that organ if, and as long as, it is satisfied that the delay in payment is due to exceptional and unavoidable circumstances. If the fund becomes insufficient, an increase shall be decided by the Assembly. The amount of these advances and the conditions on which they are granted shall be the subject of separate agreements, in each case, between such country and the Organization. As long as it remains under the obligation to grant advances, such country shall have an ex officio seat on the Executive Committee.

Denunciation shall take effect three years after the end of the year in which it has been notified. They shall be designated, with their agreement, by the Assembly. Article 26 Amendments: 1. Provisions susceptible of amendment by the Assembly; proposals; 2. Entry into force.

Such proposals shall be communicated by the Director General to the member countries of the Assembly at least six months in advance of their consideration by the Assembly. Any amendment to the said Articles thus accepted shall bind all the countries which are members of the Assembly at the time the amendment enters into force, or which become members thereof at a subsequent date, provided that any amendment increasing the financial obligations of countries of the Union shall bind only those countries which have notified their acceptance of such amendment.

In their critique of the previous generation's aestheticism, the European avant-gardes unquestionably attacked such dichotomies but at the same time exacerbated that great divide. For example, although the futurists provoked riots at their serate, in Marinetti's "The Futurist Synthetic Theatre," their objective was to instill a "current of confidence" in the audience Selected Writings The dadaists declared that they would "spit on humanity" Ribemont-Dessaignes , and yet Tristan Tzara envisioned in Seeds and Bran a utopian, transformational union between artists and a knowledgeable public: "the wisdom of crowds What sharpens this aristocratic-democratic tension in Latin American manifestos, documents produced primarily in countries with high illiteracy rates and still relatively small reading publics, is the implicit, sometimes confessed, recognition that the desired mass audience the speaker is addressing directly does not really exist as a separate entity but is simply an extension of the speaker's utopian project for change.

In part, this admission is manifested in the hyperbolic characterizations of the "you" as an entity far too vast to assume a concrete identity, such as "the men of the universal fraternity" or "the youth of America. In addition, in the manifesto's communicative scheme, verb forms reinforce the mirror identification of this "you" with the manifesto's speaking "we. Such forms are common in political rhetoric "let us move forward Occasionally, a manifesto openly confesses that the separate, supportive audience it addresses does not, indeed, exist and must be conjured up or hammered out from an amorphous mass public.

The speaker addresses this nonexistent audience directly—"the hypothetical and uncertain being for whom we compose this"—and then adds in the line that provides an epigraph for this chapter , "Comrade reader: A great pleasure and a great honor to discover you" GMT Thus, to affirm its own existence, the manifesto's speaking "we" advocating a. Equally essential for the manifesto's project is the audience that is never directly invoked, those against whom the speaking "we" define themselves. Interestingly, the manifesto characterizes this absent, adversarial audience that it never acknowledges directly in far more concrete terms than the all-encompassing "you.

But, more important, in constructing the collective, integrated speaker, the manifesto relies heavily on what it is challenging, and the oppositional stance is inextricably linked to the speaker's own identity. Similarly, the Brazilian Verde manifesto reveals the relative unimportance attributable to the specific object of attack and emphasizes the indispensability of the adversarial stance itself: "We are who we want to be and not those whom others want us to be," and "We arc different.

Even extremely diverse. 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. In the futuristic spirit, the performance is to be staged "On the Dawn of the New Day.

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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.

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.

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. 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. 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. 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".

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: By contrast and as spectators of these competing displays, the guajiros are to look "natural," wear no makeup, and appear almost pale.

The performances they witness enact a confrontation between two cultural orientations toward art in a series of interlocking representations of one culture by another. In scene 1, the guajiros return from work, pulling a toy horse that they shove offstage. While the guajiros strum a guitar and begin a gentle zapateo foot-tapping dance , the businessman enters in scene 2 wearing a giant mask that doubles the size of his head.

A caricature of the North American tourist, he sports a checkered suit with golf pants, thick wool socks, and an unusual hat. He is also weighed down by paraphernalia: a collection of strange posters, a bicyclc tire pump, mysterious packages, and a movie camera tripod slung over his shoulder. The guajiros stop their dance to watch him. After carefully inspecting the place and the people, the businessman summons the sailor and the flapper who enter in scene 3, dancing a disjointed black-bottom.

While the guajiros watch the dance "stupefied," the businessman engages in a flurry of frantic activity. First he plasters the Iyamba's hut and the tool. Next, "as to inflate an imaginary tire" OC 1: , he works the bicycle pump in a row of cane. As he pumps, a skyscraper gradually inflates behind the cane.

When the building reaches a certain height, the pump detonates and the black-bottom music ceases. In scene 4, the businessman dresses the flapper as a Spanish dancer and the sailor as a bullfighter. Surrounded by the guajiros, they execute a burlesque Spanish dance as the businessman films the scene.

As the sailor—bullfighter pins the Spanish dancer to the ground with his sword, the dancers freeze in a "ridiculously" dramatic pose OC 1: In scene 5, the cane carriers and the Iyamba solemnly enter and deliberately file before the camera, destroying the film-in-progress. Ignoring the businessman's ensuing tantrum, the Iyamba removes the posters from his hut, and when the businessman moves to protest, the Iyamba's forceful glance stops him in his tracks. With heightened interest, the businessman sets up his camera in front of the Iyamba's hut, dresses the sailor in a tiger skin and the flapper in a Hawaiian dance costume, directs the actors to join the initiates, and begins to film again.

In scene 7, as the initiates stop the actors from entering the scene, a confrontation ensues between the two "directors. As the initiates run to save the altar, they suddenly freeze and bow down, detained as if by "the action of an inexplicable force" OC 1: In the final scene, the Jimaguas emerge from the Iyamba's hut.

These gigantic black dolls with cylindrical heads and protruding eyes are connected by a long cord and appear "supernatural and implacable" OC 1: Though the businessman retreats in terror, the Jimaguas advance "in a heavy dance," position themselves on either side, and, with a "brusque movement," secure the cord that binds them around their victim's neck.

At this moment, the skyscraper deflates, the sugar mill emits a slow, lugubrious sound, the other characters freeze like statues, and the initiates raise their arms to the sky OC 1: The piece also allegorizes the antipathy toward U. But excessive theatricality in characterizations of the businessman and the Jimaguas, the sugarcane central 's enormous, stylized chimneys, the overinflated skyscraper that threatens to pop, the businessman's frenetic activity and abundant, unwieldy baggage, and the work's stylizations of gesture and body movement all contribute to a hyperbolic ambience.

The work's dominant and most evident manifesto quality, however, is the explicit counterposition of two radically different approaches to performative art, a standoff that at least on the surface clearly favors one over the other. But, also in keeping with Quigley's "worlds motif," the collision itself is cast in theatrical terms. Through the plays within the ballet, the cultural encounter between two worlds is played out as an engagement between two modes of performance. The busincssman's persona posits a caricature of modernity, a world of material glut, gimmicky appearances, and stereotypical representations, mechanically reproduced and packaged for marketing, like Rotarian religion and Wrigley's gum.

As an artistic director, the businessman stages two performances for filming: the Spanish dance by the sailor and the flapper and their invasion of the Iyamba's initiation ceremony dressed as Tarzan and the Hawaiian dancer. The filming process exposes its own mimetic lies, cursory falsifications shaping modernity's portrayal of its others.

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The art thus re produced, the performance suggests, bears little similarity to anyone's lived experience and merely literally projects one culture's prior imaginings of the other. In contrast and resistance to the businessman's approach to art, the Iyamba stages his own manifestation. As a performance event, the initiation ceremony superficially resembles the businessman's activities.

Comparable to the actor in the businessman's film, participants in the ceremony undergo a voluntary transformation process. Each performance requires the creation of a framed space, emerging and set apart from ordinary life. Similarly, the Iyamba marks out the initiation ceremony space by setting out the bench and instructing the cane carriers to form a circle around it.

Each performance is directed from outside the scene; the businessman stands behind his camera directing his actors' movements, and the Iyamba stands outside the circle while manipulating what transpires within its boundaries. In addition, each performance requires special trappings, including costumes and props for the businessman's film and the bench, earthen bowls, shells, and feathers for the initiation ritual. Both performances point to the power relationships informing the interactions between the two cultures.

The visual allusion to a foreign-. After staking a claim to the Iyamba's hut by plastering it with commercial materials, the businessman also attempts to appropriate the ritual he witnesses and transform it into a more marketable commodity. In the process, he invokes the power of his culture's most imposing reproductive tool, its technological expertise. In the spirit of a manifesto, the work's confrontation between modernity's mechanically reproduced representations and the ritual ceremony of a traditional society unquestionably privileges the latter.

The title itself invokes a cultural perspective as well as an audience that would experience the Jimaguas' appearance as a miraculous event. While the businessman's conception of art is depicted as inauthentic and exploitative, the Iyamba's ritual is portrayed as a reverent act, shaped by its engagement of believing initiates. If the filmmaker's work displays, in Walter Benjamin's terms, art's loss of aura in the age of mechanical reproduction, the Iyamba's exhibition presents a cultural practice imbued with an aura of presence and a sacred but intimate part of its participants' actual lives.

In juxtaposing the primitive and the modern, a pervasive practice in vanguardist discourse, Carpentier's ballet portrays one culture as richer than the other in creative and critical force. More powerful than the camera's eye, the Iyamba's deliberate gaze detains the businessman in his frenetic bustling, and the performance the Iyamba directs is creatively and critically fruitful. It is the Jimaguas, furthermore, who wage the ultimate critique of the businessman's projections by bringing them to a definitive halt.

These contrasts play out the Afro-Cuban aesthetic position that African cultural forms constitute a richer resource for Cuban artistic expression than, for example, an emerging North American mass culture. As an aesthetic form, moreover, Carpentier's ballet is itself portrayed as a match for the "disarticulated" black-bottom executed by the sailor and the flapper and as superior to their burlesque Spanish dance.

The most clearly identifiable entity, is the work's adversarial "they," the Yankee purveyors of modernity's mass culture who provide the clear target for the ballet's attack and for Afro-Cuban culture's contrastive definition of itself as more powerful, vital, and self-present. The Iyamba, moreover, is posed as the work's "we," the embodiment of a sought-after collective cultural subject.

Although the ballet unfolds almost entirely without words, through the power of his gaze and his movements, the Iyamba constitutes the work's dynamic "speaker," or, as in the vanguardist manifesto or manifestation, its virtuoso performer. But the work's implicit "you" is the most ambiguous communicative element, a quality that sends the ballet's audience mixed signals and focuses attention on the communicative process itself, particularly the recipient's role.

On one level, each of the two plays within the ballet constructs its own audience. The initiation ceremony is staged above all for a present, believing, and participatory spectator. The businessman's film in the making, in contrast, implies a future audience whose response will be mediated by distance in time and space from the initial performance. In addition, both the businessman and his actors and the Iyamba and his initiates are spectators of one another's performances, and their mixed responses play out the problems of cultural power at issue between them.

In contrast to the "unreal and monstrous" appearance of the businessman and the Jimaguas, the cane carriers' perfectly synchronized movements, and the sailor's and flapper's exaggerated gestures, the guajiros move "naturally," without benefit of masks or makeup. Their unaffected characterization, as well as the reminder through the toy horse that this is, after all, make-believe, distances the guajiros from the shows they watch and links them most closely to the ballet's implicit real-life spectators.

This connection provides keys for discerning the ballet's ambiguously constructed implied audience. But through the guajiros ' shifting relationships to events that they witness, the ballet encourages comparable shifts of focalization on the part of its implicit, "real-life" spectator. As a result, the precise nature of the work's directly addressed "you" remains ambiguous, revealing once again the tension in vanguardist discourse between the expansive impulse to reach a mass audience and the simultaneous desire to speak with a select few. As I have noted, the ballet's title invokes a spectator position that would perceive the Iyamba's display of power as a miraculous event and therefore constructs an audience that would be drawn through faith and collective identity into the performative practices that the work openly espouses.

But, in addition to initiating their own performance the after-work dancing , the guajiros witness two performances, and as these unfold, so does their shifting position. First, they are performers of the initial guitar strumming and zapateo. Then, as they observe the businessman's activities, they become unwitting, intimidated participants, for he incorporates them through film into a circle around the flapper and the sailor's dance.

Finally, spectators outside the circle of the Iyamba's ritual, the guajiros are here recast nonetheless as fearful and respectful potential initiates. Through both performance events, they are subject to constant pulls, positioned on the boundaries between participation and estrangement. The guajiros ' reactions to what they see reinforce this shifting position, for they are alternately amused, incredulous, intimidated, and surprised by the businessman's performance, fearful and respectful before the Iyamba's.

However, although they might be drawn by cultural proximity to the latter, the guajiros are not, in the final analysis, the participating initiates but, instead, those who watch. The intermediary position of their alternating reactions intimates an awareness of the differences between the two events.

That critical position implies for this performance manifesto not a faithful public of willing initiates but a more reflective audience of artists or critics concerned with the aesthetic and cultural problems this work poses. Through the rhetoric of the vanguardist manifestos, Latin American writers mapped out specific positions on culture and art. In the process, they constructed imagined audiences embodying the aesthetic practices and cultural positions under attack as well as the idealized allies for building a future new art.

Drawing on the manifesto's intrinsic theatrical substance, manifesto-style performance texts dramatized these positions. What the avant-garde manifesto or polemic advocates, these works render concrete, transposing a specific aesthetic orientation into the realm of sensorial experience. With the imminence of a vanguard manifestation, the sense of immediacy the works create emerges from the subject matter of the performance, for as exhibitionist works-in-progress they portray the doing of the art they espouse.

The sensory directness of these works is reinforced by an eschewal of conventional dialogue. With the exception of the businessman's "Ok" as he summons the sailor and flapper onto the scene, Carpentier's ballet characters do not speak at all. And, even though Magnavox is subtitled a "discurso," the work itself openly favors the least wordy and most visually absorbing speaker, undermining the magnavox speakers who mold their performances from mere words.

More performative than representational, language in these performance manifestos is employed for doing rather than for telling. The effect of these works' musical, linguistic, and choreographic ostentation is to posit the vitality and experiential expansiveness of a specific set of artistic strategies.