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This chapter discusses interracial incestincest as a shared central motif of Villaverde’s novel and Alejandro Tapia y RiveraTapia y Rivera's play La cuarterona, LaTapia y Rivera play. The affinity of the two works is shown to result not from direct adaptation but from developing different plots from a common set of analogous motifs, character types, and plot situations. The zarzuelas María la Ozarzuela (1930) and Cecilia Valdés (1932), exemplifying more conventional book-to-stage adaptation, perpetuate and augment Cecilia’s iconic image, while augmenting her profile as the personification of Afro-Cuban and national identitynational identity. More recent theatrical adaptations (e.g., Estorino’s Parece blanca, Espinosa’s La Virgencita de Bronce) nostalgically recall legendary theatrical properties, while synergetically stimulating possible future adaptations.

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Cecilia on Stage

  • 章节

  • 发表日期：

    2025年

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  • Lucy Harney

摘要

This chapter discusses interracial incestincest as a shared central motif of Villaverde’s novel and Alejandro Tapia y RiveraTapia y Rivera's play La cuarterona, LaTapia y Rivera play. The affinity of the two works is shown to result not from direct adaptation but from developing different plots from a common set of analogous motifs, character types, and plot situations. The zarzuelas María la Ozarzuela (1930) and Cecilia Valdés (1932), exemplifying more conventional book-to-stage adaptation, perpetuate and augment Cecilia’s iconic image, while augmenting her profile as the personification of Afro-Cuban and national identitynational identity. More recent theatrical adaptations (e.g., Estorino’s Parece blanca, Espinosa’s La Virgencita de Bronce) nostalgically recall legendary theatrical properties, while synergetically stimulating possible future adaptations.