<p class="MsoNormal" style="text-justify: inter-ideograph; text-align: justify; margin: 0in 0in 0pt; tab-stops: 2.8pt 22.6pt 56.6pt 85.0pt 113.3pt 127.5pt 141.7pt 155.85pt 170.0pt 181.35pt 198.4pt 212.55pt 226.7pt 240.9pt 255.05pt 272.1pt 283.4pt;"><span style="font-family: Times New Roman;"><em><span style="font-size: 10pt; mso-ansi-language: ES-TRAD;">Cuba detr&aacute;s del tel&oacute;n </span></em><span style="font-size: 10pt; mso-ansi-language: ES-TRAD;"><span style="mso-spacerun: yes;">&nbsp;</span>forma parte de un extenso recorrido de Mat&iacute;as Montes Huidobro por la escena cubana que se inicia con <em>Persona: vida y m&aacute;scara en el teatro cubano </em>(Universal, 1973) y se ampl&iacute;a con <em>El teatro cubano durante la Rep&uacute;blica (1902-1959), </em>(SSSAS, 2004). <em>Teatro cubano: vanguardia y resistencia est&eacute;tica (1959-1961) </em>y el segundo tomo <em>El teatro cubano entre la est&eacute;tica y el compromiso (1962-1969) </em>cubren los primeros diez a&ntilde;os del teatro en Cuba a partir de la revoluci&oacute;n: uno de los per&iacute;odos m&aacute;s conflictivos de la historia nacional, pero que es, al mismo tiempo, la d&eacute;cada m&aacute;s rica del teatro cubano. En este primer tomo la obra de Virgilio Pi&ntilde;era y Carlos Felipe se analizan. Tambi&eacute;n la de autores no estudiados previamente: Rolando Ferrer, Jos&eacute; Triana, Ant&oacute;n Arrufat, Aberlardo Estorino, Gloria Parrado,<span style="mso-spacerun: yes;">&nbsp; </span>Ezequiel Vieta, Manuel Reguera Saumell, Ra&uacute;l de C&aacute;rdenas, Nicol&aacute;s Dorr, Leopoldo Hern&aacute;ndez, y otros, incluyendo la recepci&oacute;n cr&iacute;tica del teatro del propio Montes Huidobro. Este libro es tambi&eacute;n un an&aacute;lisis del car&aacute;cter nacional y del tumultuoso y complejo contexto hist&oacute;rico en el cual el movimiento teatral se desarrolla.</span><span style="mso-ansi-language: ES-TRAD;"></span></span></p>
<p class="MsoNormal" style="text-justify: inter-ideograph; text-align: justify; text-indent: 22.6pt; margin: 0in 0in 0pt; tab-stops: 2.8pt 22.6pt 56.6pt 85.0pt 113.3pt 127.5pt 141.7pt 155.85pt 170.0pt 181.35pt 198.4pt 212.55pt 226.7pt 240.9pt 255.05pt 272.1pt 283.4pt;"><span style="font-size: 10pt; mso-ansi-language: ES-TRAD;"><span style="font-family: Times New Roman;">This book forms part of the author</span></span><span style="font-family: &quot;WP TypographicSymbols&quot;; font-size: 10pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-char-type: symbol; mso-symbol-font-family: 'WP TypographicSymbols';"><span style="mso-char-type: symbol; mso-symbol-font-family: 'WP TypographicSymbols';">=</span></span><span style="font-size: 10pt; mso-ansi-language: ES-TRAD;"><span style="font-family: Times New Roman;">s extensive journey studying Cuban theater starting with <em>Persona: vida y mascara en el teatro cubano</em> and which was broadened with <em>El teatro cubano durante la Republica, 1902-1959</em>, <em>Teatro cubano: vanguardia y resistencia estetica, 1959-1961</em>, and the second volume covering 1962-1969. The current book covers a very turbulent time in Cuban politics but a very rich time for Cuban theatre</span></span><span style="font-family: &quot;WP TypographicSymbols&quot;; font-size: 10pt; mso-ansi-language: ES-TRAD; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-char-type: symbol; mso-symbol-font-family: 'WP TypographicSymbols';"><span style="mso-char-type: symbol; mso-symbol-font-family: 'WP TypographicSymbols';">Y</span></span><span style="font-size: 10pt; mso-ansi-language: ES-TRAD;"><span style="font-family: Times New Roman;">1959-1961.<span style="mso-spacerun: yes;">&nbsp; </span>It analyzed the works of Virgilio Pinera and Carlos Felipe, as well as Rolando Ferrer, Jose Triana, Anton Arrufat, Aberlardo Estorino, Gloria Parrado, Esequiel Vieta, Manuel Reguera Saumell, Raul de Cardenas, Nicolas Dorr, Leopoldo Hernandez, as well as the works of Montes Huidobro, the author. This book is also an analysis of the Cuban character and the complex and tumultuous historical context where Cuban theatre unfolded.</span></span><span style="mso-ansi-language: ES-TRAD;"></span></p>