Abstract
This essay intends to offer a first approach to some works that have been rarely taken into account by literary criticism: Cuban crime and contraspying theatre. These texts were mainly produced in the 70s and early 80s due to the success of the novels dealing with the same topics. They clearly show the link between literature and ideology that was the core of the an important part of Cuban cultural production of the period. Some plays are specially dealt with Ha muerto una mujer, Ernesto y Aqui del G-2 soy yo by Gerardo Fernandez Garcia and Crimen en Noche de mascaras , by Antonio Veloso y Rodolfo Perez Valero.
Highlights
This essay intends to offer a first approach to some works that have been rarely taken into account by literary criticism: Cuban crime and contraspying theatre
These texts were mainly produced in the 70s and early 80s due to the success of the novels dealing with the same topics. They clearly show the link between literature and ideology that was the core of the an important part of Cuban cultural production of the period
Some plays are specially dealt with Ha muerto una mujer, Ernesto y Aquí del G-2 soy yo by Gerardo Fernández García and Crimen en Noche de máscaras, by Antonio Veloso y Rodolfo Pérez Valero
Summary
This essay intends to offer a first approach to some works that have been rarely taken into account by literary criticism: Cuban crime and contraspying theatre.
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