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Astrid Hadad
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Astrid Hadad : ウィキペディア英語版
Astrid Hadad

Astrid Hadad is a well-known Mexican actress and performance artist. She was born in February 26, 1957, Chetumal, Quintana Roo, Mexico. She attended the National Autonomous University of Mexico, originally planning to major in political science and journalism but then changing to theatre. After appearing in a number of shows, she came to the fore in 1985 in ''Donna Giovanni'', an all-female adaptation of Mozart's opera, which was directed by Jesusa Rodríguez and became a great hit in Europe. It closed after its 500th performance, in the Palacio de Bellas Artes in Mexico City.
==Influences==
Parallel to these activities, she created two shows of her own (''Nostalgia Arrabalera'' and ''Del Rancho a la Ciudad''). This led to her producing and starring in the tragicomic musical ''La Occisa'' or ''Luz, Levántate y Lucha'' based on the life of Mexican singer Lucha Reyes (1904-1944), a very famous ranchera singer. Lucha Reyes is the one who started what Hadad calls "canto bravío" in Mexico. Hadad states in an interview in 1997 "traditionally women would sing the campirana song or bucolic songs with soft voices, with very high pitch. Women did not use the same force in singing compared to a man and Lucha (Reyes) is the one who initiates this type of ranchera singing in a bravía way among women. Because of that she changed the vernacular song".〔Alzate Cuervo, Gastón Adolfo. “Expandiendo los límites del teatro: Una entrevista con Astrid Hadad.” Latin American Theatre Review. 30.2 (1997): 153-163.〕 Another influences in the production of Hadad are the teatro de carpa (Tent theater, similar to street theater), and teatro de revista, two forms of the so-called género chico or “light” theater developed in Mexico from the late 1880s to the 1930s, and specially the "rumbera" films from the Golden Age of Mexican cinema (40s - 60s) whose plots were set primarily in cabarets. The principal stars were the actresses and dancers known as "Rumberas".〔Alzate, Gastón.; Cynthia Tompkins and David William Foster, Eds. (2001). "Astrid Hadad". Notable twentieth-century Latin American women: a biographical dictionary. Greenwood Publishing Group. pp. 130–134.〕 Ms. Hadad says her act also has its origins in the German cabaret of Bertold Brecht and Kurt Weill, “the political cabaret that was a new way of experiencing life” In the 1920s and 30’s, Mexico City's clubs were also filled with performers who skewered the powerful in their acts. But no one since has stuffed all of Mexican political and cultural history into a dress and laced it up with a feminist attitude quite like Ms. Hadad.〔Tim Weiner. “A Diva Outraged and Outrageous”. The New York Times Sunday Styles March 4, 2001. http://mundomundo.com/astrid_press.html〕
In a way, one could say that Hadad’s wild cabaret is a little like a Frida Kahlo painting come to life. Like Frida, she draws from the rich motherlode of images offered up by Mexican history and culture: Catholic saints, Aztec and Mayan iconography, revolutionary heroes, exuberant flowers and plants, campesino and indigenous folk art, the golden era of Mexican cinema and so on.〔Jeanne Carstensen, 'The Mexican cabaret singer is much more than the second coming of Frida Kahlo' SF Gate. Oct 10 2002 . http://mundomundo.com/astrid_press.html〕
But if Frida Kahlo, through no fault of her own, has been reduced, in some quarters, to a mouse pad, Hadad has absorbed this inheritance of a uniquely Mexican and female surrealism and created her own surrealist cabaret that pulses with campy humour and irony.

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