Possession, Gender and Performance in Revolutionary Cuba: Eugenio Hernández Espinosa's María Antonia

  title={Possession, Gender and Performance in Revolutionary Cuba: Eugenio Hern{\'a}ndez Espinosa's Mar{\'i}a Antonia},
  author={Leo Cabranes-Grant},
  journal={Theatre Research International},
  pages={126 - 138}
Eugenio Hernández Espinosa's María Antonia (1967) is regarded as one of the most important theatrical works to be produced during the first decade of the Cuban Revolution. Although most readings of the play tend to emphasize its investment in possession ceremonies (the use of santería rituals and symbols provoked a strong reaction from both audiences and critics), Hernández Espinosa's conflicted presentation of gender roles is what claims my attention in this article. By showing how María… 
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