Word: tania
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Dates: during 1970-1979
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...Hearsts received another jolt two weeks later. Striding showily into a Hibernia Bank branch in San Francisco's Sunset district, a black man and four white women wielding semiautomatic carbines announced, "We're from the S.L.A." "This," shouted one of them, "is Tania Hearst!" Unmistakably, the bank's automatic cameras filmed Patty Hearst brandishing a rifle at center stage in the bank lobby. Needlessly opening fire as they left the bank, the robbers fled with $10,960. Declared Patty's distraught father: "It's terrible! Sixty days ago, she was a lovely child. Now there...
...student at Philadelphia's Temple University, but who attended Oberlin from 1972 to 1974. Scott became Weiner's mentor. After his appearance before the grand jury, Weiner refused to say anything about the group, but he did ask newsmen to send his greetings to Tania (the underground name that Patty has adopted) and "my comrade Jack and my dearest sister Micki," who clearly were the Scotts. Weiner also said that he hoped the Scotts and Patty were safe "in or out of this monster's belly," an apparent reference to American society...
...Part of Tania's denial of her individuality is a denial of her womanhood. She is a woman and a revolutionary, but obviously a revolutionary first. Despite a passing reference to the "infamous Latin American disease of machismo," Klein's script gives little attention to the position of women in the revolution. It is assumed that women will fight alongside men, and when a team of women workers outdoes the men's team, they shout triumphantly "Viva las mujeres!" But it is also assumed that after a hard day's fighting in the jungle the women will do the cooking...
...Tania and her fellow revolutionaries, selflessness and collectivism serve a definite purpose--it is the only way for them to live under the constant threat of death. Not only do they themselves gain a kind of immortality--no matter what happens, their spirit will live on in the revolution--but they can also find consolation for the death of their friends. "We must take time to weep for our fallen comrades," Che tells the troops, adding pointedly. "While we sharpen our machetes." And when, all the end of the play. Tania and Che themselves fall victims to the enemy...
What follows from that statement is that these revolutionaries have been only technically alive, and characters that are only technically alive make for a fairly dead play. Tania does have moments of true vivacity, however, and these moments usually come--not surprisingly--when the cast is acting as a collective entity. When they sing "Que linda es Cuba" or chant "El pueblo--unido--jamas sera vencido" with what looks like genuine revolutionary fervor, they manage to capture some of the warm communal feeling that you might experience at a revolutionary summer camp, or, more likely, at a demonstration...