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File:Teatro de revista 1972.jpg
View of the 1972 revue Cena para amante, featuring vedette Adriana Parets.


Locally known as teatro de revista or simply revista, the genre combines music, dance, humor and short sketches in a comedic or satirical tone, with its distinctive plot line focusing on current events.[1] It incorporates influences from other theatrical genres, both precedent and contemporary, such as variety shows, burlesque, café-concert and music hall, among others.[1]

La revista porteña se inscribe en la historia de nuestro teatro como uno de los géneros genuinamente argentinos.[2]

It is considered part of the "folklore of Buenos Aires".[3]

In 2013, the city legislature officially recognized the revista porteña theatrical genre as a Cultural Heritage of the Autonomous City of Buenos Aires.[4]

Although the bibliography on the history of other genres in Argentine theatre abounds, in the case of revue they are scarce.[5]

Characteristics

File:Vedettes 1973.tif
A group of vedettes of Buenos Aires in 1973.

Sus jerarquías, la presencia del humor político, los grandes despliegues de producción y la fusión entre los cuadros que componen a una obra son sólo algunas de las características de la revista que se disiparon o fueron tomando otras formas con el tiempo y la llevaron a adoptar nuevos elementos que la acercaron, cada vez más, a otros géneros, como el music hall.[2]

Influential vedette Moria Casán has stated that what defines the traditional revue are its hierarchies, explaining: "There was a hierarchy in the casts: there were the chorus girls (coristas), who could wear their bottom uncovered; the models, who only paraded and showed their topless breasts; the dancers, who didn't wear their bottoms uncovered and put on their virtuosity. Later, the bluebell girls are brought in, who did topless without pasties. Then, within the vedettes, there were the half vedettes (medias vedettes), who made a brief appearance in the second vedette's (segunda vedette) act. The second vedette, who had her act and some sketches, and the first vedette (primera vedette), who had the main act, the main sketch and the finale."[2]

https://lunateatral2.wordpress.com/2014/01/10/de-la-revista-criolla-a-la-revista-portena/

History

1874—1921: The emergence of the revista criolla

Portrait of Casimiro Prieto Valdés c. 1891, author of El sombrero de Don Adolfo (1874), a forerunner of Argentine revue.

The revue genre arrived to Buenos Aires through French and Spanish immigrants, as part of the massive immigration wave to the country that took place in the late 19th and early 20th centuries.[6][7] Casimiro Pietro Valdés' El sombrero de Don Adolfo is usually taken as an antecedent, a 1874 production that referred to Adolfo Alsina's disputes over Domingo Faustino Sarmiento's presidential succession, and ended up banned on the day of its premiere.[1]

Some theatre critics, such as Edmundo Guibourg, consider Eduardo de Rico and Eduardo García Lalanne's 1888 production La nueva vía o el estado de un país—a satire of a Spanish revue titled La Gran Vía—to be the forerunner of the genre in Buenos Aires.[7] CONICET's Ana Ruth Giustachini noted that the Buenos Aires premiere of La Gran Vía resulted in the appropriation of the Spanish revue model by the local theater system, from which a series of revista criollas were produced.[8]

Several other productions are also cited as antecedents, including Nemesio Trejo and Andrés Abad Antón's Un día en la capital and La fiesta de Don Marcos, Justo López de Gomara and Isabel Obrejón's De paseo por Buenos Aires, Miguel Ocampo and Abad Antón's De paso por aquí, Otra revista and Lo que vale un apellido, and Eduardo Gordon's El gato electoral; all of them premiering around 1890.[7]

Writing on the revista porteña in 1957, theatre historian Luis Ordaz noted: "When the year 1890 arrived, the door that led to political events of transcendental importance, the climate of agitation that was lived in the streets, boldly took the stage, becoming an accurate element of mockery and criticism."[9]

The origin of revue theater in Buenos Aires occurred in 1898 with the premiere of Enrique de María's Ensalada criolla.[1]

The first use of the term "revue" (locally known as "teatro de revista") was by theater company Vittone-Pomar in 1915 and, from then on, the genre began to spread in the theaters of the city,[1] ushering in a period of growth for the genre.[10]

In a December 1917 article on the industrial areas in which the country showed great development, Caras y Caretas included the genero chico theatrical productions: "The industry for the manufacture of sainetes, zarzuela and revues is new in the country, but despite its few years of existence, it produces enough to supply the theaters of the city and provinces and still has a balance left for export to neighboring countries."[11]

1922—?: The consolidation of the revista porteña

Leading vedette Gloria Guzmán in 1926.

In 1922, Madame Rasimi—creator of the Bataclan theatre in Paris—arrived to Buenos Aires with her company of semi dressed vedettes, presenting the revue Paris Chic, which made a big impact on audiences.[12] Influenced by French dancers like Mistinguett, local vedettes began to present more revealing outfits,[12] leaving behind the flesh-colored bodystockings and incorporating headpieces with glitter, feathers and tulle.[13]

The term bataclanas was extended to refer disparagingly to chorus girls.[14]

Influenced by the arrival of French producer Léon Volterra's company in 1924, which popularized the figure of the chansonnier, tango singers in revue began to be mostly male.[13]

https://books.google.com.ar/books?id=a_Kej5KUHJ8C&pg=PA93&dq=%22revista+porte%C3%B1a%22&hl=en&sa=X&ved=2ahUKEwjKte2qpsT0AhW5ILkGHahPAT4Q6AF6BAgEEAI#v=onepage&q&f=false

The Buenos Aires revue, especially in its early days, has been considered an "unavoidable point of reference in the history of [local] culture."[15] The tango music and dance native to the Río de la Plata took center stage in revue, boosting the popularity of figures such as Azucena Maizani, Libertad Lamarque, Sabina Olmos, Tito Lusiardo, Ignacio Corsini and Agustín Magaldi, among others.[15]

  • Chorus line in a 1925 revue presented at the Maipo theatre, among which are Gloria Guzmán, Carmen Lamas, Celia Gámez and Tita Merello.
    Chorus line in a 1925 revue presented at the Maipo theatre, among which are Gloria Guzmán, Carmen Lamas, Celia Gámez and Tita Merello.
  • Vedette Gloria Guzmán in 1926.
    Vedette Gloria Guzmán in 1926.
  • The final act of the revue Mujeres, flores y alegría, presented at the Maipo theatre in 1926.
    The final act of the revue Mujeres, flores y alegría, presented at the Maipo theatre in 1926.
  • Vedette Laura Hernández dressed as the sun in the revue Esto es Buenos Aires, presented at the Maipo theatre in 1927.
    Vedette Laura Hernández dressed as the sun in the revue Esto es Buenos Aires, presented at the Maipo theatre in 1927.
  • Perlita Greco, Pepe Arias and Laura Hernández in the revue Cabecitas locas, presented at the Maipo theatre in 1927.
    Perlita Greco, Pepe Arias and Laura Hernández in the revue Cabecitas locas, presented at the Maipo theatre in 1927.
  • Eduardo de Labar parodying politician Hipólito Yrigoyen in the revue A misia presidencia, presented at the Maipo theatre in 1928.
    Eduardo de Labar parodying politician Hipólito Yrigoyen in the revue A misia presidencia, presented at the Maipo theatre in 1928.

1930s

https://www.tensodiagonal.org/index.php/tensodiagonal/article/view/326

https://books.google.com.ar/books?id=CdS0jEXMZcgC&pg=PA89#v=onepage&q&f=false

1943—1954

Nélida Roca in 1956. Nicknamed the "Venus of Corrientes street", she was the highest grossing vedette of her time, and is regarded as a symbol of revue.

https://criticadeartes.una.edu.ar/assets/files/file/critica-de-arte/2010/extension/2010-ca-ponencia-mesa2-2.pdf

In 1974, producer Carlos A. Petit—nicknamed the "tsar of revue"—[16]claimed that during the Peronist era, shows were forced to abandon their characteristic political humor in favor of more erotic content, boosted by the growing sexualization of cinema.[17] He further explained: "After 1955 political satire returns: but it will not be for long since the sumptuousness of the productions, their high cost, demands a long stay on the bill. And long terms are at odds with the ever-changing pace of politics."[17]

According to a popular legend, Luis César Amadori discovered Nélida Lobato—a young jazz singer—in 1948 and incorporated her as a vedette in his revue, which caused the price of the seats in the front row to triple.[18]

Roca attributed her success to her work ethics, stating in 1974: "Revue is a style; the show must have color, rhythm, grace and ease. Great discipline is required for all of this."[19]

https://www.infobae.com/teleshow/2021/12/04/nelida-roca-el-misterioso-final-de-vedette-que-un-dia-eligio-desaparecer-para-ser-recordada-siempre-joven-y-bella/

1960s

http://www.magicasruinas.com.ar/revistero/1/teatro-de-revistas.htm

https://books.google.com.ar/books?id=q61W8v_9ltwC&pg=PT129&dq=%22N%C3%A9lida+Roca%22&hl=es&sa=X&ved=2ahUKEwiflMf63cr0AhVPlJUCHamgB8EQ6AF6BAgFEAI#v=onepage&q=%22N%C3%A9lida%20Roca%22&f=false

https://www.clarin.com/cultura/foto-estudio-luisita-teatro-revistas-fulgor-tiempos-oscuros_0_pGRyl3mJm.html

  • Vedette Juanita Martínez in 1963.
    Vedette Juanita Martínez in 1963.
  • Vedette Liliana Dumaine in 1965.
    Vedette Liliana Dumaine in 1965.
  • Vedette Nélida Lobato in the revue Corrientes casi esquina Champs Elysées, c. 1969.
    Vedette Nélida Lobato in the revue Corrientes casi esquina Champs Elysées, c. 1969.
  • Vedette Adriana Parets in 1969.
    Vedette Adriana Parets in 1969.

1970s

On June 1974, Siete Días Ilustrados magazine reported that revue was undergoing a "true revival of the genre".[17] While until then the main theaters for revue were the Maipo, El Nacional and the Teatro Florida, this boom in popularity saw the emergence of several new venues, like the Astros, the Cómico and the Sans Souci.[17] The revues raised revenues vastly higher than any other theatrical genre, with the Maipo theatre reportedly raising 130 million pesos a month by 1974.[17]

In a May 1975 article focused on the most popular vedettes, Siete Días Ilustrados magazine stated that they had become "authentic vestals of the nightlife of Buenos Aires, to the point that there is no frivolous altarpiece that does not count in its ranks one of these portents and, of course, the eternal comedians crammed with jokes intended to underline their anatomical excellence."[20]

1980s

https://www.lanacion.com.ar/espectaculos/teatro/el-regreso-de-las-plumas-nid609463/

1990s

In 1995, producer Lino Patalano casted Cris Miró as a vedette for the revue Viva la revista en el Maipo at the Maipo theatre, which quickly made her a celebrity.[21][22] Miró caused a media sensation for the perceived gender bender aspects of her image,[23][24][25] becoming the first Argentine transgender female to gain nation-wide fame.[26][27] Considered a symbol of the Argentine 1990s,[27][26] her popularity meant a change in the local showbusiness of the era and popularized transgender and cross-dressing acts in Buenos Aires' revue scene,[28] paving the way for other travestis and trans women to gain popularity as vedettes, most notably Flor de la V.[24][29]

2000s

2010s

Writing for the Argentine edition of Rolling Stone in 2014, Alejandro Seselovsky reported on a so-called "era of the porno-vedettes", characterized by the artificial appearance of these performers through plastic surgery and cosmetics.[30] He described this concept through the figure of Victoria Xipolitakis, the most popular vedette of the summer of 2013—2014.[30]

Moria Casán reflected in 2020: "We must not undervalue revue, where our great figures such as Merello, Olinda Bozán and very important men came from... Revue, which is very difficult to do, is sometimes undervalued by the same people who do it. In the big revues, women were not always objectified. I did not allow it. Susana [Giménez], with [Jorge Porcel], either. A few little jokes about us, OK, but they were naive, absolutely nice. Neither Barbieri nor Marrone objectified you."[31]

Sexism

In a 1967 article for Siete Días Ilustrados magazine, showgirl Isabel Coello from the Maipo complained about the harassment of male fans at the exit of the theater: "It's the worst part of the job. Men consider us dishonest. Mom knows this and protects me. They do not realize that I complete 8 hours of a strenuous day: I dress and undress 10 times a night, I dance, sing, speak and scream for only 30,000 pesos a month."[3]

https://www.perfil.com/noticias/espectaculos/diez-actrices-confrontan-al-teatro-de-revista.phtml

http://tercercordon.com.ar/la-mujer-objeto-las-risas-y-el-machismo-que-no-se-ve/

https://www.perfil.com/noticias/columnistas/feminismo-impacto-en-sexo-teatro-y-deporte.phtml

See also

Notes

  1. ^ a b c d e "Ficha de registro" (PDF) (in Spanish). Government of the City of Buenos Aires. 2003. Retrieved December 1, 2021.
  2. ^ a b c Amoroso, Carolina (December 9, 2012). "El presente de la revista porteña". La Nación (in Spanish). Retrieved December 2, 2021.
  3. ^ a b "Teatro de revistas, folklore porteño". Siete Días Ilustrados (in Spanish). Available at Mágicas Ruinas. July 4, 1967. Retrieved December 4, 2021.
  4. ^ "Ley 4771 - Género Teatral 'Revista Porteña'" (in Spanish). Dirección General Centro Documental de Información y Archivo Legislativo (CEDOM). Buenos Aires City Legislature. November 21, 2013. Retrieved December 4, 2021. Artículo 1º.- Declárase Patrimonio Cultural de acuerdo con la Ley 1227, art. 4, inc. J al género teatral 'Revista Porteña'.
  5. ^ Prestigiacomo, 1995. p. 13
  6. ^ Prestigiacomo, 1995. p. 20
  7. ^ a b c Prestigiacomo, 1995. p. 26
  8. ^ Giustachini, Ana Ruth (1994). "Las relaciones entre la revista española y la revista criolla a fines del siglo XIX". In Pellettieri, Osvaldo (ed.). De Lope de Vega a Roberto Cossa: teatro español, iberoamericano y argentino (in Spanish). Buenos Aires: Galerna. pp. 93–100. ISBN 978-950-556-322-7. Retrieved December 2, 2021.
  9. ^ Sikora, Marina F. (1994). "Dos autores españoles y la revista criolla". In Pellettieri, Osvaldo (ed.). De Lope de Vega a Roberto Cossa: teatro español, iberoamericano y argentino (in Spanish). Buenos Aires: Galerna. pp. 101–110. ISBN 978-950-556-322-7. Retrieved December 2, 2021.
  10. ^ Schoo, Ernesto (April 26, 2008). "La catedral de la revista". La Nación (in Spanish). Retrieved December 2, 2021.
  11. ^ González Velasco, Carolina (2007). "El género chico teatral: cambio y mixtura cultural en la Buenos Aires de los años '20". I Jornadas Nacionales de Historia Social (in Spanish). La Falda: Facultad de Humanidades y Ciencias de la Educación. Universidad Nacional de La Plata. Retrieved December 3, 2021.
  12. ^ a b Prestigiacomo, 1995. p. 98
  13. ^ a b Prestigiacomo, 1995. p. 99
  14. ^ "1922 — Llega el Ba-ta-clán" (in Spanish). Teatro Maipo. Retrieved December 3, 2021.
  15. ^ a b Pellettieri, 2001. p. 222
  16. ^ "El retorno de la reina". Siete Días Ilustrados (in Spanish). August 15, 1967. Retrieved December 5, 2021.
  17. ^ a b c d e Yadarola, Amalia; Jaunarena, José María (June 10, 1974). "Vedettes, un festival de curvas y pesos". Siete Días Ilustrados (in Spanish). Available at Mágicas Ruinas. Retrieved December 5, 2021.
  18. ^ Filighera, Ricardo (September 14, 2020). "Nélida Roca, la Venus de la calle Corrientes". DiarioShow (in Spanish). Retrieved December 4, 2021.
  19. ^ "Murió Nélida Roca, la reina de la revista porteña"". Clarín (in Spanish). December 5, 1999. Retrieved December 4, 2021.
  20. ^ "Gusto, manías y secretitos de siete destacadas vedettes". Siete Días Ilustrados (in Spanish). Available at Mágicas Ruinas. May 9, 1975. Retrieved December 5, 2021.
  21. ^ Cruz, Alejandro (December 27, 2016). "Cris Miró, o el retrato de una "Cenicienta trans"". La Nación (in Spanish). Retrieved June 6, 2021.
  22. ^ Firpo, Hernán (January 23, 2017). ""Cris Miró fue un prólogo para la ley de Identidad de Género"". Clarín (in Spanish). Retrieved June 8, 2021.
  23. ^ Jiménez, Paula (July 20, 2012). "La vida sin Cris". Soy. Página/12 (in Spanish). Retrieved June 8, 2021.
  24. ^ a b "De la vida marginal al glamour de los teatros". Clarín (in Spanish). June 2, 1999. Retrieved June 8, 2021.
  25. ^ "De Elliot Page a Laverne Cox, los artistas trans que están cambiando el mundo del espectáculo". La Nación (in Spanish). December 3, 2020. Retrieved June 15, 2021.
  26. ^ a b Alarcón, Cristian (June 2, 1999). "Cuando la diferencia sale a escena". Página/12 (in Spanish). Retrieved June 7, 2021.
  27. ^ a b Sanguinetti, Gastón (June 1, 2021). "Vida, muerte y leyenda de Cris Miró: marcó un camino y triunfó como vedette en la Argentina". Infobae. Retrieved December 5, 2021.
  28. ^ "Decime Cris". Clarín (in Spanish). June 4, 1999. Retrieved June 8, 2021.
  29. ^ De Paulo, Adrián (January 22, 2017). ""Cris Miró les abrió las puertas a todas las que siguieron"". Diario Popular (in Spanish). Retrieved June 6, 2021.
  30. ^ a b Seselovsky, Alejandro (February 7, 2014). "Vicky Xipolitakis: la dueña del verano". Rolling Stone. La Nación (in Spanish). Retrieved December 5, 2021.
  31. ^ Melgar, Analía (February 2, 2020). "Diez actrices confrontan al teatro de revista". Perfil (in Spanish). Retrieved December 1, 2021.

References

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