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Chicano Drama
This book, first published in 2000, was the first since Jorge Huerta's earlier study Chicano Theater: Themes and Forms to explore the diversity and energy of Chicano theatre. Huerta takes as his starting point 1979, the year Luis Valdez's play, Zoot Suit, was produced on Broadway. Huerta looks at plays by and about Chicana and Chicanos, as they explore, through performance, the community and its identity caught between the United States and Mexico. Through informative biographies of each playwright and analyses of their plays, Huerta offers an accessible introduction to this important aspect of American theatre and culture. Overall, Huerta establishes a pattern of theatrical activity that is closely linked with both Western European traditions of realism and an indigenous philosophy seen in contemporary Chicano culture. The book contains photographs from key productions and will be invaluable to students, scholars and general theatregoers.
Auto/Biography and Identity
Arguing that women use autobiography and performance for expression and as a means of controlling their public and private selves, the contributors of these 11 essays examine the lives and work of a variety of artists ranging from actors as working women in the eighteenth century to monologists and performance artists today. Subjects include several performers, including Alma Ellerslie, Kitty Marion, Ina Rozant, Susan Glaspell, Adrienne Kennedy, Emma Robinson, Lena Ashwell, Tilly Wedekind, Clare Dowie, Janet Cardiff, Tracey Emin, and, in an interview, Bobby Baker, as well as essays on Latina theater and lesbians as performers constructing themselves and their community. Annotation : 2005 Book News, Inc., Portland, OR (booknews.com).
Homecoming Queers
Homecoming Queers provides a critical discussion of the multiple strategies used by queer Latina authors and artists in the United States to challenge silence and invisibility within mainstream media, literary canons, and theater spaces. Marivel T. Danielson's analysis reveals the extensive legacy of these cultural artists, including novelists, filmmakers, students and activists, comedians, performers, and playwrights. By clearly discussing the complexities and universalities of ethnic, racial, sexual, gender, and class intersections between queer Chicana and U.S. Latinas, Danielson explores the multiple ways identity shapes and shades creative expression. Weaknesses and gaps are revealed in the treatment of difference as a whole, within dominant and marginalized communities. Spanning multiple genres and forms, and including scholarly theory alongside performances, films, narratives, and testimonials, Homecoming Queers leads readers along a crucial path toward understanding and overcoming the silences that previously existed across these fields.
Glimpses of Phoenix
Part of the self-image of Phoenix is that the city has no history and that anything of importance happened yesterday. Also that Phoenix, the Arizona state capital, is a "clean" city (despite a past of police corruption and social oppression). The "real" Phoenix, easygoing, sun-drenched, a place of ever-expanding development and economic growth, guarantees, it is said, an enviable lifestyle, low taxes, and unfettered personal freedom and opportunity. Little of this is true. Phoenix has been described as one of the least sustainable cities in the country. This sixth largest urban area of the United States has an alarmingly superficial and tourism-oriented discourse among its leaders. This book examines a series of narrative works (novels, theater, chronicles, investigative reporting, personal accounts, editorial cartooning, even a children's television program) that question this discourse in a frequently stinging fashion. The works examined are anchored in a critical understanding of the dominant urban myths of Greater Phoenix, and an awareness of how all the newness, modernity and fun-in-the-sun mentality mask a uniquely dystopian human experience.
With Her Machete in Her Hand
With the 1981 publication of the groundbreaking anthology This Bridge Called My Back: Writings by Radical Women of Color, Cherríe Moraga and Gloria Anzaldúa ushered in an era of Chicana lesbian writing. But while these two writers have achieved iconic status, observers of the Chicana/o experience have been slow to perceive the existence of a whole community—lesbian and straight, male as well as female—who write about the Chicana lesbian experience. To create a first full map of that community, this book explores a wide range of plays, novels, and short stories by Chicana/o authors that depict lesbian characters or lesbian desire. Catrióna Rueda Esquibel starts from the premise that Ch...
Stages of Life
Latina theater and solo performance emerged in the 1990s as vibrant, energetic new genres found on stages from New York to Los Angeles. Many women now work in all aspects of Latina theater—often as playwrights or solo performers—with practitioners ranging from teenagers to grandmothers. Alberto Sandoval-Sánchez and Nancy Saporta Sternbach have previously published a groundbreaking anthology of Latina theater, Puro Teatro. They now offer a critical analysis of theatrical works, presenting a theoretical perspective from which to examine, understand, and contextualize Latina theater as a genre in its own right. This is the first in-depth study of the entire corpus of Latina theater, based ...
Latina Performance
Latina Performance considers the emergence of a Latina aesthetics developed in the United States, but simultaneously linked with Latin America. As dramatists, performance artists, protagonists, and/or cultural critics, the women Arrizon examines in this book draw attention to their own divided position. They are neither Latin American nor Anglo, neither third- nor first-world; they are feminists, but not quite "American style." This in-between-ness is precisely what has created Latina performance and performance studies, and has made "Latina" an allegory for dual national and artistic identities. Book jacket.
Art and Social Movements
This is a study of artist/activists and their participation in social movements in the 1960s, 70s, and 80s, in Mexico City, Oaxaca, and California. McCaughan places the three movements within their own local histories, cultures, and conditions, but also links them to the 1968 rebellions that were going on across the world.
Latino/a Popular Culture
While the presence of Latinos and Latinas in mainstream news and in popular culture in the United States buttresses the much-heralded Latin Explosion, the images themselves are often contradictory. Latino/a Popular Culture brings together scholars from the humanities and social sciences to analyze representations of Latinidad in a diversity of genres.
Gender on the Borderlands
"Both noted and new scholars reweave the fabric of collective, family, and individual history with a legacy of agency and activism in the borderlands in these twenty-one original selections. Contributors explore themes of homeland, sexuality, language, violence, colonialism, and political resistance within the most recent frameworks of Chicana/Chicano inquiry. Art as social critique, culture as a human right, labor activism, racial plurality, Indigenous knowledge, and strategies of decolonization all vitalize these selections edited by one of the country's most respected historians of the borderlands, Antonia Castaneda.
