Pupo Greatest Hits The Best Songs Collection

In Sánchez's eyes, one of the greatest problems with Juan Moreira is that it employs flat types ("paisanos declamadores") rather than the more well-rounded characters of his own works ("El teatro nacional" 44). In his lecture, Sánchez takes issue with the one-dimensional characterization of the gaucho as a romantic "force of nature" that made him a national archetype. Instead he privileges more nuanced character development, which brings out the gaucho viejo's quality as an artifact, not just in the familiar sense of a cultural relic tied to the past, but also something best appreciated for its skillful fashioning (arte-factum). Going forward into the 1920s, Sánchez's focus on carefully constructed intricacies of character--instead of the "natural" or self-evident--will be visible in the immigrant-centered grotesco criollo of writers like Armando Discépolo. Like the drama rural, the grotesco was in some respects a response to the popular sainete criollo. The protagonists in both of these genres are so well crafted as to become predictable, and this scrupulous attention to formal detail marks their downfall in modernity. City-savvy characters are quick to gull the gaucho viejo and immigrant by taking advantage of how faithfully their outward demeanors reflect their inner feelings. (3)

Pupo Greatest Hits The Best Songs Collection

041b061a72