Latina Performance: Traversing the Stage

by Alicia Arrizon

Overview

"Latina Performance is a densely theorized treatment of rich materials." —MultiCultural Review

"Arrizón's important book revolves around the complex issues of identity formation and power relations for US women performers of Latin American descent." —Choice

Latina Performance examines the Latina subject whose work as dramatist, actress, theorist, and/or critic further defines the field of theater and performance in the United States. Alicia Arrizón looks at the cultural politics that flows from the intersection of gender, ethnicity, race, class, and sexuality.

Product Details

ISBN-13:	9780253212856
Publisher:	Indiana University Press
Publication date:	09/22/1999
Series:	Unnatural Acts: Theorizing the Performative
Pages:	248
Product dimensions:	6.12(w) x 9.25(h) x (d)
Age Range:	18 Years

About the Author

Alicia Arrizón is an Assistant Professor at University of California, Riverside. Her writings on theater and performance have been published in The Drama Review: The Journal of Performance Studies, Ollantay: Theater Magazine, and Mester: Literary Journal.

Editorial Reviews

"Arrizón's (Arrizon's) important book revolves around the complex issues of identity formation and power relations for US women performers of Latin American descent. Latinas use writing and performance to address gender and sexuality within an ever—changing framework of their lives and history, redefining Latina identity and subjectivity. The Chicana/o theatrical tradition since the 1960s owes a debt to the popular Spanish—language vaudeville forms performed by Beatriz Escalona (La Chata Noloesca), the work of Josefina Niggli in community theater, and other performers who recognized the common core of their community as based on a consciousness of historical collectivity and pluralistic sensitivities. The Latina experience is broad and complex, and the term traversing in the title indicates a movement that induces the subject into an uncertain position, with transitions in identity and space. In Cross—Border Subjectivity and the Dramatic Text, Arrizón (Arrizon) addresses geopolitics and cultural survival in work by Milcha Sanchez—Scott, Dolores Prida, and Josefina Lopez; Self—Representation: Race, Ethnicity, and Queer Identity looks at the work of performance artists Monica Palacios and Alina Troyano/Carmelita Tropicana. Valuable for anyone interested in theater history and criticism, cultural studies, gender studies, and ethnic studies with attention to Mexican American, Chicana/o, and Latina/o studies. Upper—division undergraduates through professionals."—E. C. Ramirez, St. Philip's College, Choice, February 2002

From the Publisher

Arrizón's (Arrizon's) important book revolves around the complex issues of identity formation and power relations for US women performers of Latin American descent. Latinas use writing and performance to address gender and sexuality within an ever—changing framework of their lives and history, redefining Latina identity and subjectivity. The Chicana/o theatrical tradition since the 1960s owes a debt to the popular Spanish—language vaudeville forms performed by Beatriz Escalona (La Chata Noloesca), the work of Josefina Niggli in community theater, and other performers who recognized the common core of their community as based on a consciousness of historical collectivity and pluralistic sensitivities. The Latina experience is broad and complex, and the term traversing in the title indicates a movement that induces the subject into an uncertain position, with transitions in identity and space. In Cross—Border Subjectivity and the Dramatic Text, Arrizón (Arrizon) addresses geopolitics and cultural survival in work by Milcha Sanchez—Scott, Dolores Prida, and Josefina Lopez; Self—Representation: Race, Ethnicity, and Queer Identity looks at the work of performance artists Monica Palacios and Alina Troyano/Carmelita Tropicana. Valuable for anyone interested in theater history and criticism, cultural studies, gender studies, and ethnic studies with attention to Mexican American, Chicana/o, and Latina/o studies. Upper—division undergraduates through professionals.

Choice - E. C. Ramirez

Arrizón's (Arrizon's) important book revolves around the complex issues of identity formation and power relations for US women performers of Latin American descent. Latinas use writing and performance to address gender and sexuality within an ever—changing framework of their lives and history, redefining Latina identity and subjectivity. The Chicana/o theatrical tradition since the 1960s owes a debt to the popular Spanish—language vaudeville forms performed by Beatriz Escalona (La Chata Noloesca), the work of Josefina Niggli in community theater, and other performers who recognized the common core of their community as based on a consciousness of historical collectivity and pluralistic sensitivities. The Latina experience is broad and complex, and the term traversing in the title indicates a movement that induces the subject into an uncertain position, with transitions in identity and space. In Cross—Border Subjectivity and the Dramatic Text, Arrizón (Arrizon) addresses geopolitics and cultural survival in work by Milcha Sanchez—Scott, Dolores Prida, and Josefina Lopez; Self—Representation: Race, Ethnicity, and Queer Identity looks at the work of performance artists Monica Palacios and Alina Troyano/Carmelita Tropicana. Valuable for anyone interested in theater history and criticism, cultural studies, gender studies, and ethnic studies with attention to Mexican American, Chicana/o, and Latina/o studies. Upper—division undergraduates through professionals.

Choice - E. C. Ramirez]]>

Arrizón's (Arrizon's) important book revolves around the complex issues of identity formation and power relations for US women performers of Latin American descent. Latinas use writing and performance to address gender and sexuality within an ever—changing framework of their lives and history, redefining Latina identity and subjectivity. The Chicana/o theatrical tradition since the 1960s owes a debt to the popular Spanish—language vaudeville forms performed by Beatriz Escalona (La Chata Noloesca), the work of Josefina Niggli in community theater, and other performers who recognized the common core of their community as based on a consciousness of historical collectivity and pluralistic sensitivities. The Latina experience is broad and complex, and the term traversing in the title indicates a movement that induces the subject into an uncertain position, with transitions in identity and space. In Cross—Border Subjectivity and the Dramatic Text, Arrizón (Arrizon) addresses geopolitics and cultural survival in work by Milcha Sanchez—Scott, Dolores Prida, and Josefina Lopez; Self—Representation: Race, Ethnicity, and Queer Identity looks at the work of performance artists Monica Palacios and Alina Troyano/Carmelita Tropicana. Valuable for anyone interested in theater history and criticism, cultural studies, gender studies, and ethnic studies with attention to Mexican American, Chicana/o, and Latina/o studies. Upper—division undergraduates through professionals.E. C. Ramirez, St. Philip's College, Choice, February 2002

— E. C. Ramirez, St. Philip's College

Choice