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Performing identities: Chicana and ...

The University of Wisconsin - Madison.

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Performing identities: Chicana and Mexicana performance art in the 90s.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Performing identities: Chicana and Mexicana performance art in the 90s./
Author:	Gutierrez, Laura G.
Description:	284 p.
Notes:	Source: Dissertation Abstracts International, Volume: 61-08, Section: A, page: 3192.
Contained By:	Dissertation Abstracts International61-08A.
Subject:	Literature, Latin American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9982245
ISBN:	9780599889101

Performing identities: Chicana and Mexicana performance art in the 90s.
Gutierrez, Laura G.

Performing identities: Chicana and Mexicana performance art in the 90s. - 284 p.

Source: Dissertation Abstracts International, Volume: 61-08, Section: A, page: 3192.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2000.

Ultimately, Performing Identities is a project that crosses disciplinary, linguistic, national and cultural boundaries to insert itself within the fields of cultural and performance studies.

ISBN: 9780599889101Subjects--Topical Terms:

1024734
Literature, Latin American.

Performing identities: Chicana and Mexicana performance art in the 90s.
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020 $a 9780599889101
035 $a (UMI)AAI9982245
035 $a AAI9982245
040 $a UMI $c UMI
100 1 $a Gutierrez, Laura G. $3 1025465
245 1 0 $a Performing identities: Chicana and Mexicana performance art in the 90s.
300 $a 284 p.
500 $a Source: Dissertation Abstracts International, Volume: 61-08, Section: A, page: 3192.
500 $a Supervisor: Ruben Medina.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2000.
520 $a Ultimately, Performing Identities is a project that crosses disciplinary, linguistic, national and cultural boundaries to insert itself within the fields of cultural and performance studies.
520 $a This study explores how contemporary Chicana and Mexicana performers use the deconstructive characteristics of performance art to challenge essentialized notions of identity and to critically intervene in dominant discourses (Mexican, Chicano, US "mainstream"). This is done primarily through a discussion and analysis of two performance pieces from the early nineties, Nahuatl---Now What? by Paulina Sahagum (Southern California) and Heavy Nopal by Astrid Hadad (Mexico City).
520 $a Chapter one argues for a cross-cultural studies approach to Mexicana and Chicana performance given that notions of Mexicanness, Mexican femininity, and the nonterritoriality of cultural performance practices, tropes, images and languages are part of both traditions. By drawing on numerous theoretical discourses, I argue that we need to re-define the boundaries of what constitutes "American" cultural and performance studies.
520 $a Chapter two traces the roots of Mexican and Chicana/o performance art. These roots, however, do not lie exclusively within the European avant-garde of the early twentieth century, they are also situated within the popular roots of performance, in particular the theatrical spectacles of the teatro frivolo. These manifestations from the turn of the twentieth century are shared performance traditions for Chicanas/os and Mexicanas/os as well as examples of Mexico's and the Chicano communities' hybrid modernism.
520 $a The two succeeding chapters concentrate on how identities are performed, deformed, and transformed in Sahagun's and Hadad's performance pieces. In particular, I analyze how, through performance, and the two particular contexts these two artists are at once engaging and disengaging their personal sense of identity or identities. By deploying a particular feminist rasquache aesthetic form---in the solo autobiographical performance piece Nahuatl---Now What?---Sahagun self-fashions her apparently contradictory identity as a Chicana, Mexicana and Hi-Tech Aztec Pocha. Hadad's multifarious strategy in Heavy Nopal makes use of masquerades (part of a larger tradition of feminist camp practices) in order to deconstruct notions of nationalism, femininity and masculinity, and sexuality. Both Sahagun and Hadad demonstrate the constructedness and performativity of gender within Mexican and Chicana/o cultures.
590 $a School code: 0262.
650 4 $a Literature, Latin American. $3 1024734
650 4 $a Theater. $3 522973
690 $a 0312
690 $a 0465
710 2 $a The University of Wisconsin - Madison. $3 626640
773 0 $t Dissertation Abstracts International $g 61-08A.
790 $a 0262
790 1 0 $a Medina, Ruben, $e advisor
791 $a Ph.D.
792 $a 2000
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9982245