COSER Y CANTAR DOLORES PRIDA PDF

Scanner Internet Archive Python library 1. Latinos live mixing it with high doses of humour, popular culture, criticism and even sarcasm and thus, successfully capturing in theatrical form that unique and complex reality of a culturally hybrid Latina living on the hyphen. Alexander Street Press, Please select Ok if you would like to proceed with dolires request anyway. Together with that, this paper will also analyze how Prida aims with these plays at the denouncement and criticism dolpres assimilationist tendencies imposed by the mainstream and accordingly, vindicates the duality of the Latino bilingual and bicultural being, clearly revealing her anti-assimilationist message.

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News wires white papers and books Prida, Dolores: —: Playwright, Journalist, Poet Prida, Dolores: —: Playwright, Journalist, Poet gale views updated Dolores Prida: —: Playwright, journalist, poet Cuban-American playwright Dolores Prida began her writing career while working for a restaurant chain, and went on to write more than a dozen plays and musicals that achieved critical acclaim.

Her plays are known for their frank portrayal of the difficul-ties faced by immigrants who try to embrace a new culture without losing their old one. Her writings have explored the prejudices that face immigrants, and often focus on the sexism that exists within immigrant communities. Humor can also make difficult topics more approachable to people who may carry around their own stereotypes; laughter can be a disarmingly effective means of getting people to open their minds. Manuel Prida was a salesman who provided adequately for his family, but he was also a womanizer who had difficulty putting down roots.

This was a subject that his daughter would later tackle in her plays. Young Dolores took business courses in high school, but she also wrote poems and short stories, most of which she kept to herself. Like many others, Manuel Prida chose to leave Cuba. He fled to the United States in , and his wife and children followed in Initially she worked in the bakery, but soon she was promoted to an administrative position.

She managed to make use of her writing skills, and became editor of the Schraffts employee magazine. In she entered Hunter College, where she majored in Spanish- American literature. She spent four years there but did not complete her degree requirements.

In she left both Hunter and Schraffts to take a one-year position as a foreign correspondent for the publishing house Collier-Macmillan International. Throughout the s and early s, she held several positions that allowed her to make use of her writing and editorial skills. In the s she served as publications director for the Association of Hispanic Arts.

At a Glance. Found a Bicultural Voice During these years Prida continued to devote time to creative writing. In the s she concentrated on poetry, and became one of the young Hispanic poets of the Nueva Sangre New Blood movement.

In the s she decided to try her hand at writing plays. She had never seen a live play until she came to New York. Teatro Popular gave her an understanding of the art of writing plays, and it also allowed her to see theater as an art form that could be accessible to people from all backgrounds. She told Repertorio. In the work Prida was able to tackle important social issues such as the relationship between women and the Catholic Church , but she did so using humor and satire.

The play won critical acclaim and was performed across the United States. She also wrote Coser y Cantar, a play that focuses on a Hispanic woman living in the United States and how she attempts to deal with living in two very different worlds.

It becomes clear to viewers that She and Ella are not actually two separate characters, but are the two sides of one woman.

Throughout the play these two sides of the same woman argue, each trying to gain control over the other. In the end, they come to the realization that the separate elements complement each other. While She and Ella will never be "one" person, the two sides they represent make for a strong if somewhat unsettled individual. During the s and s, Prida continued to write plays. Much of her work was written for the experimental theater Duo in New York, but she also wrote for groups such as the Puerto Rican Traveling Theater.

Prida also continued to work as a journalist, with her work appearing in numerous publications. At times she also worked as an editor and a speechwriter.

She also taught and lectured on writing at a number of colleges and universities , and became a contributing editor for Latina magazine, which was launched in An Unusual Contest In Prida was presented with an unusual opportunity to use her creative skills.

The Federal National Mortgage Association , popularly known as Fannie Mae, was looking for a way to promote home ownership within the Hispanic community.

Instead of launching a traditional advertising campaign, Fannie Mae decided to sponsor a playwriting competition that it called The American Dream. Entrants had only one guideline to follow: all submissions had to address Hispanic home ownership in the United States.

The winning play would be performed at Repertorio Espanol. It focuses on the emotional struggle between Olga, who wants to buy a home, and her husband Manolo, who sees home ownership as constraining Prida based the role of Manolo partly on her father.

According to the ABA Banking Journal, the New York Times called the entry "a high-spirited comedy," as once again Prida uses a light touch to address serious issues and makes her characters more human, more real.

And because it was sponsored by Fannie Mae, Casa Propria achieved an honor undoubtedly reserved for few plays: a write-up in the flagship publication of the American Bankers Association. The play was performed off-Broadway and received excellent reviews. It was performed in several other cities as well, and the soundtrack was released on compact disc in Like many Cuban Americans who left their homeland while young, Prida felt that it was important to seek ways to make a connection with Cuba.

She was part of a delegation that visited Cuba in the late s to find ways to build bridges between the Castro regime and Cuban exiles. Ultimately, the group was able to gain concessions from the Cuban government that allowed exiles in the United States to visit with relatives in Cuba.

This kept her works from being performed in certain Cuban-American regions in Florida and the Northeast, even though Cuban politics was never among her themes. Throughout her career as a writer, Prida has received many awards and honors including the Cintas Fellowship Award for Literature in , and the Creative Artistic Public Service Award for Playwriting in She received an honorary doctorate of humane letters from Mount Holyoke College in Her plays are continuing to open doors for up-and-coming playwrights.

Prida told Repertorio Online, "Hispanic American theatre is beginning to have an impact and is going to be the theatre of the future. I still think that we will continue to be very much bilingual. Sources Cortina, Rodolfo J. Meier, Matt S. Notable Latino Americans, Greenwood Press, Studies in American Humor, Annual , pp.

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Coser y cantar / by Dolores Prida ; produced by Adina Back and Felipe Goroztiza. (Part 1 of 2)

News wires white papers and books Prida, Dolores: —: Playwright, Journalist, Poet Prida, Dolores: —: Playwright, Journalist, Poet gale views updated Dolores Prida: —: Playwright, journalist, poet Cuban-American playwright Dolores Prida began her writing career while working for a restaurant chain, and went on to write more than a dozen plays and musicals that achieved critical acclaim. Her plays are known for their frank portrayal of the difficul-ties faced by immigrants who try to embrace a new culture without losing their old one. Her writings have explored the prejudices that face immigrants, and often focus on the sexism that exists within immigrant communities. Humor can also make difficult topics more approachable to people who may carry around their own stereotypes; laughter can be a disarmingly effective means of getting people to open their minds. Manuel Prida was a salesman who provided adequately for his family, but he was also a womanizer who had difficulty putting down roots. This was a subject that his daughter would later tackle in her plays.

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Coser y cantar / by Dolores Prida ; produced by Adina Back and Felipe Goroztiza. (Part 1 of 2)

Prida belongs to a new generation of Latino women writing in North America: a hybrid generation born in the Caribbean and raised in the United States, who, though, socially progressive are still closely identified with their cultural roots which deeply mark their lives as well as their literary works. More precisely, Prida belongs to the first generation of Cuban-Americans who left the island with the feeling of having left everything behind home, family belongings, In Coser y Cantar one of her most acclaimed plays , Prida wittily brings to the stage the biculturalism and subsequently, bilingualism in which millions of U. Latinos live mixing it with high doses of humour, popular culture, criticism and even sarcasm and thus, successfully capturing in theatrical form that unique and complex reality of a culturally hybrid Latina living on the hyphen. Together with that, this paper will also analyze how Prida aims with these plays at the denouncement and criticism of assimilationist tendencies imposed by the mainstream and accordingly, vindicates the duality of the Latino bilingual and bicultural being, clearly revealing her anti-assimilationist message. Prida deals with such topics creating a play whose content and structure does not resemble any previous works by Cuban-Americans.

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Dolores Prida

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