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Choteo Cubano: Humor As a Critical Tool in Twentieth-Century Cuban Theater

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Choteo Cubano: Humor As a Critical Tool in Twentieth-Century Cuban Theater City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Choteo Cubano: Humor as a Critical Tool in Twentieth-Century Cuban Theater Rebecca L. Salois The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2279 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] CHOTEO CUBANO: HUMOR AS A CRITICAL TOOL IN TWENTIETH-CENTURY CUBAN THEATER by REBECCA L. SALOIS A dissertation submitted to the Graduate Faculty in Latin American, Iberian and Latino Cultures in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 REBECCA L. SALOIS All Rights Reserved ii Choteo Cubano: Humor as a Critical Tool in Twentieth-Century Cuban Theater by Rebecca L. Salois This manuscript has been read and accepted for the Graduate Faculty in Latin American, Iberian and Latino Cultures in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Jean Graham-Jones Chair of Examining Committee Date José del Valle Executive Officer Supervisory Committee: Carlos Riobó Elena Martínez THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Choteo Cubano: Humor as a Critical Tool in Twentieth-Century Cuban Theater by Rebecca L. Salois Advisor: Jean Graham-Jones This project analyzes the incorporation of choteo in specific Cuban theater texts written during three distinct periods in twentieth-century Cuban history, all of which coincide with specific moments of social, political, and/or economic unrest or transition. Choteo in the theater has served as a tool to demonstrate discontent and frustration with authority figures in various contexts. As that need has altered over time, so too has the approach that playwrights have taken to speak out about these issues. I suggest that by responding to changing circumstances with choteo, confronting a difficult situation is more palatable to audiences or readers than using a more serious approach. I investigate humor theories from Henri Bergson, Sigmund Freud, and Peter McGraw, along with analyses of choteo by Jorge Mañach, Gustavo Pérez Firmat, and Narciso Hidalgo, to consider how and why choteo is used, and the effects of its use. I put forth a definition of choteo that suits its application in literary texts, and I demonstrate that choteo in the theater exists in various forms. While this is not an exhaustive study of choteo in the theater, a close reading of the selected plays provides various examples of the ways in which choteo has been applied in theatrical texts in order to express discontent with specific situations. iv Chapter one examines the years following Machado’s dictatorship and investigates the uses of choteo directed at social classes and social changes related to race, gender, and class. The three plays selected from this period are Y quiso más la vida (1934), by José Cid Pérez, Junto al río (1938), by Luis Baralt, and El velorio de Pura (1941), by Flora Díaz Parrado. Chapter two analyzes the use of choteo to discuss political unrest during the early years of Castro’s Revolution and the texts from these years demonstrate a lack of change and a fear of repetition of previous political situations in the country. The plays from this period include El flaco y el gordo (1959), by Virgilio Piñera, La paz en el sombrero (1961), by Gloria Parrado, and La muerte del Ñeque (1963), by José Triana. Chapter three considers choteo in the theater during the Special Period and reflects the economic experiences of Cuban society at that moment. Due to their specific socio-economic foci, I have elected to analyze Manteca (1993), by Alberto Pedro Torriente, Laberinto de lobos (1994), by Miguel Terry, and Vereda tropical (1994), by Joaquín Miguel Cuartas Rodríguez. I aim to demonstrate that choteo in the theater, specifically that used in plays written during moments of great change in twentieth-century Cuba, serves a greater purpose than simply making the spectator or reader laugh. It is my intention not only to discuss the myriad examples of choteo in certain Cuban plays, but also to explain its function in these works. While choteo has not necessarily brought about direct or immediate cultural shifts, I believe that it has the potential to aid in the ever-transforming face of Cuban society. Whether it serves as a mere form of temporary escapism, as a means to openly effect change, or something in between, choteo plays a significant role in both mirroring and influencing Cuban society. v ACKNOWLEDGEMENTS While this dissertation only credits one author, the work that I present here would not have been possible without the help and support of many other people. I may have done the writing, but I did not get here on my own. First, I would like to express my overwhelming gratitude to my mentor and advisor, Professor Jean Graham-Jones. Her guidance and instruction over these last years has been invaluable. From the first meeting we had, I knew she was a perfect fit for me and my research. She has always pushed just enough to keep me going and I have learned a great deal from her. I can never thank her enough for the ways in which she encouraged me to complete this project. In addition, I would like to thank Professor Elena Martínez, who has supported my work since I entered the program and without whom my committee would not have been complete. I am grateful to Professor Licia Fiol-Matta, who introduced me to choteo, and who ultimately, if unknowingly, let me to discover this project. Special thanks to Professor Carlos Riobó for joining my committee in the last year of my work, and for his willingness to sit down and discuss my research in detail. His feedback was invaluable. I also wish to acknowledge Professor José del Valle for all of his academic and professional assistance during my time at the Graduate Center, even before my first semester started. Whenever I had a non-dissertation related question or concern he was there to guide me. I began the HLBLL program in his first year as Executive Officer and am pleased to be one of the last signed dissertations during his tenure in that role. vi Extra special thanks to my former advisor Professor Lori Hopkins, who introduced me to Latin American theater and who encouraged me when I decided to apply for PhD programs. It is because of her that I discovered my love for Cuban theater. I am deeply indebted to the Cuban Heritage Collection at the University of Miami and all of its many wonderful employees and librarians. Much of my research would have been impossible without the extensive archival collections housed there, and without the knowledge and assistance of the staff. I would also like to thank my friend and colleague Lázaro Castillo in Cuba. His infinite connections put me in touch with people I otherwise never would have met, and allowed me to gain access to the libraries and archival collections in Havana with greater ease than I was anticipating. Friends are an important part of graduate school life, both academic and non-academic. Thank you to my friends who motivated me to get my writing done, and to those who knew when I needed a break. Special thanks to my family for being so supportive, especially over these last several years. I appreciate each of my parents for always pushing me to do my best and being proud of the things I was able to accomplish. I am grateful to all of my many siblings as well, for putting up with me, and for being there when I needed you. I love you all. And finally, but most importantly, thank you to my husband, Shawn Russell. Thank you for standing behind my decision to go back to school. Thank you for moving to New York with me (I know you wanted this as much as I did, but still). Thank you for holding a job you hated while I worked to finish. Thank you for encouraging me every step of the way. I love you so much and I dedicate this project to you. vii TABLE OF CONTENTS Abstract iv Acknowledgements vi Introduction: Choteo – A Cuban Humor 1 Chapter 1: Reformation and Transformation? Social Choteo after Machado’s Republic 1.1 Introduction 36 1.2 Y quiso más la vida: Choteo, Social Class, and Ego 44 1.3 Junto al río: Choteo, Politics, and the Status Quo 58 1.4 El velorio de Pura: Choteo, Women, and Customs 78 1.5 Conclusion: Choteo and Change Post-Machado 95 Chapter 2: Is There Escape from the Cycle? Political Choteo and Castro’s Revolution 2.1 Introduction 103 2.2 El flaco y el gordo: Choteo, Food, and Revolution 107 2.3 La paz en el sombrero: Choteo, Capitalism, and Socialism 125 2.4 La muerte de Ñeque: Choteo, Corruption, and Power 153 2.5 Conclusion: Choteo and Revolution or Revolution? 178 Chapter 3: What Happens Next? Economic Choteo and the Special Period 3.1 Introduction 182 3.2 Manteca: Choteo, Choices, and Consequences 189 3.3 Laberinto de lobos: Choteo, Patriotism, and Disillusion 217 3.4 Vereda tropical: Choteo, Change, and Generations 238 3.5 Conclusion: Choteo and Economic Survival 261 Conclusion: Choteo – Past, Present, and Future 267 Bibliography 288 viii Introduction: Choteo – A Cuban Humor In this dissertation, I analyze three different periods in Cuban history, all of which coincide with specific moments of social, political, and/or economic unrest.
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