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Hemispheric Institute Digital Video Library

Overview
Works: 632 works in 845 publications in 2 languages and 1,180 library holdings
Genres: Drama  Interviews  Parodies, imitations, etc 
Publication Timeline
Key
Publications about Hemispheric Institute Digital Video Library
Publications by Hemispheric Institute Digital Video Library
Most widely held works by Hemispheric Institute Digital Video Library
Salad of the Bad Café ( Computer File )
4 editions published between 1998 and 2000 in English and held by 5 libraries worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given. Salad of the Bad Café is a postmodern cabaret written and performed by Lois Weaver and Peggy Shaw of Split Britches and Asian American performance artist Stacy Makishi. Inspired by Carson McCullers' novel Ballad of the Sad Café and the lives of Tennessee Williams and Yukio Mishima, it is a treatise on love in a post-claustrophobic era. The play begins in 1945, in the summer that lay between the war and the postwar period when Japan was weeping, the American South was seething and the word Gender was mostly used in grammar class. The setting is a cafe where people come to spend a few hours so that the deep bitter knowing that their life is not worth much can be laid to rest. Racial, gender and regional stereotypes come together to tell a story of unrequited love, in an attempt to demystify the Queer, disorient the Orient and demythify the Southern Gothic and the American Grotesque. This is one of the first iterations of the piece, performed as a work-in-progress in London in 1998
Bocas de bolero ( visu )
2 editions published in 1994 in Spanish and held by 4 libraries worldwide
'Bocas de bolero' is a collective creation by Teatro La Máscara on the relationships women have with everyday activities in the domestic realm. The melodrama of marriage, the notion of waiting, domestic chores, religion, mother-daughter relationships, gender conventions, etc., are woven with the romantic and melancholy sounds and themes of bolero. Through a polysemic treatment of space, reiteration, movement and image that explores the dynamics of memory, personal present and collective past, the performance artfully confronts the taboos, conventions and struggles surrounding cultural notions of gender. Teatro La Máscara is the oldest - and one of the only - feminist, all-womens theater in Colombia. Founded in 1972 in Cali, La Máscara was a political theater initially comprised of male as well as female actors; by the early 1980s, when only the women stayed and wanted to continue the theatrical trajectory of the group, Lucy Bolaños decided to make La Máscara a womens ensemble fully dedicated to a feminine dramaturgy on gender issues. Committed to feminism and social change, they have stayed true to this mission, despite the many social and economic pressures theyve had to endure in an environment plagued by violence and machismo, which constantly seeks to invisibilize their work. Because of their fruitful stubbornness, La Máscara is not only creating and staging plays, but also working with marginalized communities, actively participating in political protests and demonstrations, and being involved in the organization of theater festivals. Through their work, they keep re-thinking womens role in the construction of a peaceful Colombia
El derecho de abortar ( Computer File )
2 editions published in 1998 in Spanish and held by 4 libraries worldwide
Monica Lengüinsky (played by Jesusa Rodríguez) flees to Mexico during the Clinton scandal, becomes a TV writer, and produces "El Derecho de Abortar", a show that is a cross between a pastorela (Christmas play) and a telenovela (soap opera). This pastonovela features Virgin Mary and Joseph of Nazareth as two wealthy Mexicans tormented by the ambiguous sexuality of their cross-dressing son, Jesus Christ. In a failed attempt to straighten him out, they employ a prostitute ("María Magdalena" Lengüinsky), who ends up discovering that Jesus is really a hermaphrodite, that he is pregnant, and that the father of his unborn child is St. Joseph himself. When Jesus gets an abortion, Lengüinsky sees her chance to profit from the situation: she blackmails the Holy Family by threatening to go public with the truth about Jesus. Putting their own social status first (including Josephs political career as a candidate to the Mexican presidency), the Holy Family decides to sacrifice Jesus and sells Lengüinsky the copyright to all images of the crucifixion. El Derecho de Abortar is a poignant satirical commentary on the corruption, intolerance, and contradictory morality at work in the catholic-capitalist society of Mexico
Cuando el regente nos alcance ( Computer File )
2 editions published in 1996 in Spanish and held by 4 libraries worldwide
In this solo performance by Jesusa Rodríguez, current pressing social and economic problems affecting Mexico City are discussed in the context of political campaigns to the regency of this city. Economic polarization, failing infrastructure, political corruption, violation of human rights, mass media manipulation of public opinion, the religious prohibition of birth control methods, and a severe drought are topics discussed by a myriad of characters, satiric lyrics, and video inserts projected on the back wall of the stage. Rodríguez mocks Mexico's main political parties (PRI, PAN) and the disparity between their campaign promises and the political corruption that worsens the urban crisis. Several candidates to the regency of the city are proposed, alluding to actual politicians, but expanding the political 'bestiary' to the fabulous 'Chupacabras' (the 'Goatsucker,' invoked to suck the technocrats' blood), 'Babe, el Puerquito Valiente' ('Babe, the Brave Piglet,' a symbol of 'dirty politics'), Keiko the Whale ('all regents are animals... at least this one needs water as much as the rest of the population'), and even resorting to propose Coatlicue, Aztec goddess of life and death (who promises to end privatization, greed, and corruption among 'her children'). An alternative 'History of the Collapse of Tenochtitlan' and the satiric version of Venezuelan folk song 'Alma Llanera' are examples of how this performance confronts streetwise wits with the mirage of urban prosperity advertised by TV commercials, newscasts, and political campaign slogans, acknowledging how electoral decisions affect 'the future of Mexico... if there's such thing.' Mexican director, actress, playwright, performance artist, scenographer, entrepreneur, and social activist Jesusa Rodréguez has been called the most important woman of Mexico. Often referred to as a chameleon, Rodríguez moves seemingly effortlessly and with vigor across the spectrum of cultural forms, styles, and tones. Her espectáculos (as both spectacles and shows) challenge traditional classification, crossing with ease generic boundaries: from elite to popular to mass, from Greek tragedy to cabaret, from pre-Columbian indigenous to opera, from revue, sketch and carpa, to performative acts within political projects. Humor, satire, linguistic play, and the body are constants in her productions. She seeks to render corporal and, thus, visible, the tensions between the discourses in operation on and through the individual and collective body. Rodriguezs energy is intense and her commitment non-negotiable, always interrogating the nature, site, and consequences of power and its representation. Liliana Felipe, one of Latin America's foremost singers and composers, was born in Argentina in the 1950s. She left for Mexico just before the outbreak of the 'Dirty War' (1976), but her sister and brother-in-law were both 'disappeared'--victims of the military dictatorship's criminal politics. Liliana's music has a wide following in Latin America. She continues to be a powerful presence in Argentina, working with human rights organizations--especially H.I.J.O.S. (the organization of the children of the disappeared). In Mexico, Liliana went to one of Jesusa Rodríguez's performances. Jesusa, catching a glimpse of Felipe in the audience, remembers saying to herself: I am going to die with that woman. Since then, Liliana and Jesusa have created two performance spaces, El Cuervo and later El Hábito in Coyoacán, Mexico City, that they still run. They 'married' in February 2000. El Hábito (www.elhabito.com.mx) is a hotbed for intellectuals, feminists, gay rights activists and open-minded, progressive people who want to be engaged by a smart and critical humor. In this off-off space, and with the collaboration of their theater cooperative Las Divas, Jesusa y Liliana have produced hundreds of shows since the 1980s
Upwardly mobile home ( Computer File )
3 editions published between 1984 and 1986 in English and held by 4 libraries worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. This video documents the first version of their show Upwardly Mobile Home, performed at WOW Café on East 11th Street in New York City. The piece is a working class survival story, where a troupe of actors camps out under the Brooklyn bridge and peddle their wares, trying unsuccessfully to 'sell out' and 'be greedy' like the rest of America in the 1980s
Donde el viento hace buñuelos ( Computer File )
2 editions published in 2004 in Spanish and held by 4 libraries worldwide
The group also runs a theater house, the Casa Malayerba, which houses the Laboratory as well as a theater with seating capacity for seventy people. Malayerba approaches theater making as an artistic, ethical and technical realm where to engage in meaningful creative experiences through which to understand, assume and confront current sociopolitical processes. In working together, actors with various backgrounds and nationalities have shown that a multicultural blend is not only possible but also enriching, as differences lead to new identities, embodiments of dreams, memories, absences and pains that are at once local and universal
Interview with Santiago García ( Computer File )
3 editions published between 1999 and 2009 in Spanish and held by 4 libraries worldwide
Three-session interview with Santiago García, theater director, theorist, playwright, and founder of renowned Colombian theater ensemble Teatro La Candelaria (www.teatrolacandelaria.org.co), conducted by Chicano theater scholar Alma Martinez. In this extensive interview, García discusses key topics germane to his artistic work, narrating his first experiences in theater, the artistic trajectory of La Candelaria (founded in 1966, and still one of the most important theater groups in Latin America), and his personal take on popular theater, collective creation, the influence of Brechtian theories in his artistic work, the role of the director in collaborative artistic collectives, and the state of the scenic arts in Colombia in the context of economic and political crisis. Santiago also comments on the influences and points of contact between Latin American and Latino theaters based on his personal experiences traveling and working with different theater groups, including the Chicano theater ensemble El Teatro Campesino; under the rubric of the popular, García analyzes the artistic affinities and ideological choices present in collective creation across the Americas. Finally, the artist share his thoughts on La Candelarias rendition of El Quijote, based on Garcías personal adaptation of this literary masterpiece. A carnivalesque mixture of cultures and traditions, this play highlights shared traits between the Spanish novel and Colombian culture, while performing a commentary on illusions, fantasy and utopia, elements that the author finds absent in present-day Colombia
Chavela Vargas en vivo en El Hábito ( Computer File )
2 editions published in 1991 in Spanish and held by 4 libraries worldwide
At age 72, after 13 years of silence due to problems with alcohol, Mexican legendary singer Chavela Vargas returns to the stage for the first time at Teatro-Bar El Hábito in 1991. With visible excitement and emotion, she sings from her famous repertoire of classic Ranchera songs, including 'Macorina', 'La Llorona' and 'Soledad'. The video alterates footage from the concert with interviews with Chavela, conducted by El Hábito co-founder Jesusa Rodríguez, where Vargas comments on her singing style, her struggles with alcoholism and depression, and her thoughts on life and death. Also included is a clip of Liliana Felipe and Jesusa Rodríguez singing the ode to Chavela Vargas, 'Doña Chavela'. Mexican director, actress, playwright, performance artist, scenographer, entrepreneur, and social activist Jesusa Rodréguez has been called the most important woman of Mexico. Often referred to as a 'chameleon', Rodríguez moves seemingly effortlessly and with vigor across the spectrum of cultural forms, styles, and tones. Her 'espectáculos' (as both spectacles and shows) challenge traditional classification, crossing with ease generic boundaries: from elite to popular to mass, from Greek tragedy to cabaret, from pre-Columbian indigenous to opera, from revue, sketch and 'carpa', to performative acts within political projects. Humor, satire, linguistic play, and the body are constants in her productions. She seeks to render corporal and, thus, visible, the tensions between the discourses in operation on and through the individual and collective body. Rodriguez's energy is intense and her commitment non-negotiable, always interrogating the nature, site, and consequences of power and its representation. Liliana Felipe, one of Latin America's foremost singers and composers, was born in Argentina in the 1950s. She left for Mexico just before the outbreak of the 'Dirty War' (1976), but her sister and brother-in-law were both 'disappeared'--victims of the military dictatorship's criminal politics. Liliana's music has a wide following in Latin America. She continues to be a powerful presence in Argentina, working with human rights organizations--especially H.I.J.O.S. (the organization of the children of the disappeared). In Mexico, Liliana went to one of Jesusa Rodríguez's performances. Jesusa, catching a glimpse of Felipe in the audience, remembers saying to herself: 'I am going to die with that woman.' Since then, Liliana and Jesusa have created two performance spaces, El Cuervo and later El Hábito in Coyoacán, Mexico City, that they still run. They 'married' in February 2000. El Hábito (www.elhabito.com.mx) is a hotbed for intellectuals, feminists, gay rights activists and open-minded, progressive people who want to be engaged by a smart and critical humor. In this off-off space, and with the collaboration of their theater cooperative Las Divas, Jesusa y Liliana have produced hundreds of shows since the 1980s
La razón blindada ( Computer File )
2 editions published between 2005 and 2006 in Spanish and held by 4 libraries worldwide
Rosa Luisa Márquez (www.marquezmartorell.org) is a Puerto Rican theater artist and pedagogue. Founding member of the theater group Anamú in 1971, she holds a Master's degree from New York University and a Doctorate from Michigan State University; she specializes in contemporary theater. Rosa Luisa started her teaching career at the Theater department of the University of Puerto Rico in 1978. She developed the current curriculum of Drama Activities, which she teaches in her workshops at schools, prisons, rehab centers, women's shelters, nursing homes and community centers. Her directing projects include 'Romeo(s) y Julieta(s),' 'Historias para ser Contadas,' 'La Leyenda del Cemí,' 'Procesión,' 'Waiting for Godot,' 'Jardín de Pulpos,' 'Absurdos en Soledad,' 'El León y la Joya,' among others. In conjunction with Puerto Rican visual artist Antonio Martorell, she created the concept of Itinerant Performers (1987-1990) resulting in twelve productions. Published books include 'Brincos y saltos: el juego como disciplina teatral' and 'Historias para ser contadas, montaje de Rosa Luisa Márquez.' She is a member of the board of directors and pedagogical team for the EITALC's International School of Latin American and Caribbean Theater. Ongoing artistic collaborators include Gilda Navarra and Antonio Martorell (Puerto Rico), Grupo Malayerba (Ecuador), Grupo Yuyachkani (Peru), and directors Peter Shumann (Bread & Puppet Theater, U.S.A.) and Augusto Boal (Theater of the Oppressed, Brazil). This video documents the theater piece 'La razón blindada,' written by Argentinean playwright Arístides Vargas and directed in Puerto Rico by Márquez, as a part of her ongoing artistic collaboration with Ecuadorean theater collective Malayerba (of which Vargas is director and founding member). Inspired by the 400th anniversary of the publication of Cervantes' 'El Quijote,' by Kafka's writings on Quixote and Sancho, and by the strategies of survival of political prisoners during Argentina's Dirty War (more specifically, the actual experiences of Vargas' brother, Chicho), 'La razón' is a piece about imprisonment, madness, storytelling and solidarity. In this staging by Márquez, the text is adapted to the Puerto Rican reality, exploring issues of political imprisonment that links pervasive Latin American political atrocities to selective profiling, political persecution, and the complex colonial condition of Puerto Rico
Beauty and the beast ( Computer File )
2 editions published between 1983 and 1986 in English and held by 4 libraries worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, Split Britches Feminist Performance/Lesbian Practice, edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents the first version of their show Beauty and the Beast. Based on the classic fairy tale, influenced by the long rule of republican politics and informed by the Christian agenda that dominates the US scene up till the present, it is the personal journey of a Salvation Army woman who plays the good and beautiful daughter who secretly wants to be bad, a Rabbi in pink toe shoes who is relegated to the role of the father and longs to be a stand-up comic, and an 86-year-old lesbian vaudeville freak who embraces the role of the Beast and comments on politics by forgetting which play she is in
Otra tempestad ( Computer File )
4 editions published between 1997 and 1998 in Spanish and held by 4 libraries worldwide
Adaptation written by Raquel Carrió and Flora Lauten, based on texts by Shakespeare, Carpentier, Paz, Martí, and Caribbean folktales, rituals and songs from Yoruban and Araran cultures. An exploration of the conflicting and syncretic coordinates of cubanidad, Otra Tempestad tells the story of the labyrinthical encounters (dreamt or imagined) between well-known Shakespearean characters and key figures of Afro Caribbean mythology. Fifteen cuadros, constantly cycling from death to utopia to death, examine archetypal behavior, investigating the space where worlds collide, the confluence of old and new world orders. Teatro Buendía, formed in 1986 by graduates from the Higher Institute of Arts, Havana, and directed by Flora Lauten, is Cubas most celebrated theater company. Since its foundation, they have developed two parallel lines of work: the production of theater spectacles, and a permanent research center investigating Latin American and Caribbean cultural traditions, the expressive possibilities of the actor, and the renewal of scenic languages. The study of the possible relations between music, dance, and interpretation, as well as the formulation of new forms of scenic writing and dramaturgy of the spectacle, has consolidated Teatro Buendías international prestige as a company that has presented their repertoire in the most demanding festivals and venues of Latin America, Europe, North America, Asia, Africa and Australia, all to critical acclaim. They also tour internationally giving workshops, seminars and conferences on their cultural investigations and creative methods
The temple of confessions : pre-performance street intervention, Detroit ( Computer File )
4 editions published in 1996 in English and held by 4 libraries worldwide
This itinerant performance/installation present two "end-of-the-century saints" from an "unknown border religion", in search of sanctuary across the United States while gathering confessions on intercultural fears and desires. Designed as a theater of mythos and cultural pathologies, the "Temple" proposes a ceremonial space for the reflection on ethnic, racial, and gender prejudices. It is divided in three main areas: the "Chapel of Desires", displaying "El Pre-Columbian Vato" or "holy gang member" (performed by Roberto Sifuentes); the "Chapel of Fears", displaying "San Pocho Aztlaneca" (a "hyper-exoticized curio shop shaman for spiritual tourists," performed by Guillermo Gómez-Peña), and an enigmatic funerary vignette composed by performance objects. Paintings of other "hybrid santos" hang from the walls, two "nuns" ("chola/nun" Norma Medina and "dominatrix nun" Michelle Ceballos) take care of the temple, and visitors can leave their "confessions"; the most revealing ones are incorporated into the installation soundtrack for future performances
Susana Baca in concert ( Computer File )
2 editions published between 2003 and 2005 in Spanish and held by 4 libraries worldwide
Susana Baca is the foremost singer of Afro-Peruvian music. Her music, on the Luaka Bop label, has promoted an awareness of the many cultural contributions of Afro-Peruvians. Also to this aim, she and her husband Ricardo Pereira are the founders and co-directors of the Instituto Negrocontinuo in Lima. She dedicated this concert in Belo Horizonte to women, and--with her infinite grace, her wide smile, her sensuous movements and her bare feet on stage--she performed songs like 'Molino Molero,' 'Caracunde,' 'Corazón Americano' (in honor of Milton Nascimento), 'Panalivio,' 'Toro Mata,' and 'Se me van los pies.' This concert was performed at the Palácio das Artes in Belo Horizonte, Brazil, as a part of the the 5th Encuentro of the Hemispheric Institute of Performance and Politics, titled Performing Heritage: Contemporary Indigenous and Community-Based Practices (http://hemisphericinstitute.org/eng/seminar/brazil2005/index.html).The concert was followed by a post-performance discussion with the audience
Split britches ( Computer File )
2 editions published between 1980 and 1984 in English and held by 4 libraries worldwide
Since 1981, the Split Britches Company (founded by Lois Weaver, Peggy Shaw, and Deb Margolin, www.splitbritches.com) has written and performed in trio, duet, and solo, as well as collaborated and performed with other artists. They describe their work in this way: 'Our work is rooted in popular culture, but positioned against it. It relies on moments rather than plot, relationships rather than story. It depends on the surprise of transformation rather than the logic of psychological narrative. It straddles the line between performance and theater, exploiting theatricality while exposing the pretense. It is about a community of outsiders, queers, eccentrics. It is feminist because it encourages the imaginative potential in everyone and lesbian because it takes the presence of lesbian on stage as a given.' Their vaudevillian satirical gender-bending performances have received numerous awards, including a Jane Chamber award and four Village Voice OBIE awards. Their collection of scripts, Split Britches Feminist Performance/Lesbian Practice, edited by Sue Ellen Case, won the 1997 Lambda Literary Award for Drama. This video documents a first rehearsal of the first draft of their show Split Britches- The True Story, which marks the initial collaboration of the trio and is the show from which they got their name. Conceived and directed by Lois Weaver, its a show based on true stories of three members of Weavers family in the Blue Ridge Mountains of Virginia, United States. It also marks the beginning of the companys aesthetic: weaving multiple true stories in one, trusting the details of the everyday and relying on relation rather than action.The Christian Science Monitor called this play a tiny masterpiece
Interview with Drew Hayden Taylor ( Computer File )
3 editions published between 2005 and 2007 in English and held by 4 libraries worldwide
Drew Hayden Taylor has done everything from performing stand up comedy at the Kennedy Center in Washington D.C. to lecturing on the films of Sherman Alexie at the British Museum in England. He is an award winning playwright (with over 70 productions of his work), documentary film maker, script writer, journalist and essayist. With 18 books to his credit, Drew also enjoys writing a humor column for five Canadian newspapers. Curve Lake Reserve (Ojibway) is where he was born and currently lives. Kennetch Charlette is from Sandy Bay Saskatchewan, Canada. He is of the Cree Nation. Kennetch has been working for many years as an actor and director. He is the Founding Artistic Director of the Saskatchewan Native Theatre Company (SNTC). Recent credits include the many shows at SNTC and also directing Drew Hayden Taylor's 'In World Created by a Drunken God' at the Persephone Theatre in Sakatchewan and Taylor's 'Buzz Gem Blues' at Trinity Rep in Providence, Rhode Island
Big mother el gran desmadre ( Computer File )
2 editions published in 2002 in Spanish and held by 4 libraries worldwide
Performance video inserts for 'Big Mother: El Gran Desmadre.' Here included are: newscast footage of the terrorist attacks to the World Trade Center in New York City; a spot advertising and introducing Mega Corporation ('a product of the global fusion of the market of perfect autocompetition') in its 'crusade against terrorism;' three Mexican soap opera excerpts; an infomercial by a well-known Mexican actor; a mock newsflash on Big Mother's surveillance cameras (installed in order to observe the Mexican population, looking for possible terrorists against sovereignty of the State); and a spot of 'Bernarda Alba's daughters' in a barren land, waving the Mexican flag. All these footage excerpts complement the show's 'metaphysical' reflection on terrorism, surveillance, and the society of spectacle, in a sorts of 'reality TV' show where metaphysical debates juxtapose with beauty contests, bureaucratic limbos, and theatrical last suppers, searching for Truth amidst a war on Nature and Humanity. Mexican director, actress, playwright, performance artist, scenographer, entrepreneur, and social activist Jesusa Rodríguez has been called the most important woman of Mexico. Often referred to as a 'chameleon,' Rodríguez moves seemingly effortlessly and with vigor across the spectrum of cultural forms, styles, and tones. Her 'espectáculos' (as both spectacles and shows) challenge traditional classification, crossing with ease generic boundaries: from elite to popular to mass, from Greek tragedy to cabaret, from pre-Columbian indigenous to opera, from revue, sketch and 'carpa,' to performative acts within political projects. Humor, satire, linguistic play, and the body are constants in her productions. She seeks to render corporal and, thus, visible, the tensions between the discourses in operation on and through the individual and collective body. Rodriguez's energy is intense and her commitment non-negotiable, always interrogating the nature, site, and consequences of power and its representation. Liliana Felipe, one of Latin America's foremost singers and composers, was born in Argentina in the 1950s. She left for Mexico just before the outbreak of the 'Dirty War' (1976), but her sister and brother-in-law were both 'disappeared'--victims of the military dictatorship's criminal politics. Liliana's music has a wide following in Latin America. She continues to be a powerful presence in Argentina, working with human rights organizations--especially H.I.J.O.S. (the organization of the children of the disappeared). In Mexico, Liliana went to one of Jesusa Rodríguez's performances. Jesusa, catching a glimpse of Felipe in the audience, remembers saying to herself: 'I am going to die with that woman.' Since then, Liliana and Jesusa have created two performance spaces, El Cuervo and later El Hábito in Coyoacán, Mexico City, that they still run. They 'married' in February 2000. El Hábito (www.elhabito.com.mx) is a hotbed for intellectuals, feminists, gay rights activists and open-minded, progressive people who want to be engaged by a smart and critical humor. In this off-off space, and with the collaboration of their theater cooperative Las Divas, Jesusa y Liliana have produced hundreds of shows since the 1980s
Reverend Billy and the Church of stop-shopping live ( Computer File )
1 edition published in 2003 in English and held by 4 libraries worldwide
Video documentation of Reverend Billy and his Church of Stop Shopping's performance-intervention, presented as a part of the 4th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in July of 2003 in New York City, United States under the title 'Spectacles of Religiosities'. Reverend Billy is a character inhabited by the author/actor William 'Bill' Talen. An invention that resists titles like Performance Artist, Man of God, or Anarchist -- Reverend Billy and his Church of Stop Shopping have become popular as none of the above or as all three. In one form, this project is an interactive play, an evening-length church service that seems to evolve from comedy to some sort of secular spirituality that downtown New York hipsters embrace. Working in 300-seat theaters with large gospel choirs that sing anti-consumerist lyrics ('Stop Shopping! Stop Shopping! Now we can leave the Shopping Malls!'), the Reverend usually works, like a normal church, with a theme at each service. These range from anti-sweatshop concerns, to the neighborhood defense against the economy of tourism, to animal rights. However, Reverend Billy is best known for his Disney and Starbucks store invasions, which also combine the elements of drama, religion and politics. Post-performance discussion led by Jill Lane
Latino plastic cover Spanish version ( Computer File )
4 editions published in 2000 in Spanish and English and held by 4 libraries worldwide
'Latino Plastic Cover' is the first short film by Fulana (www.fulana.org), a Latina video collective from New York City. Through parody and satire, Fulana explores themes that are relevant to Latino cultures in the U.S., delving into the nuances that bind our experiences, experimenting with strategies to make visible what we're so often made to read between the lines. Their work, which consists mainly of mock television commercials, music videos and print advertisements, responds to the ways products and ideas are marketed to Latinos through the mass media. 'Latino Plastic Cover' is a mock cable access commercial for the ultimate panacea, guaranteed not only to keep dust off your furniture, but to solve all kinds of social ills affecting the Latino community and beyond. Discover the luxury of freedom!
Interview with Diamela Eltit ( visu )
2 editions published between 2007 and 2011 in Spanish and held by 4 libraries worldwide
Interview with Diamela Eltit, conducted by Carmen Oquendo-Villar as a part of the 6th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in June of 2007 in Buenos Aires, Argentina under the title 'CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Class and Gender' (http://hemi.nyu.edu/eng/seminar/2007/index.html). Diamela Eltit is a Chilean writer. She studied literature at the Universidad Católica de Chile and at the Universidad de Chile. She is founding member of the interdisciplinary group CADA
Jardín de pulpos ( visu )
4 editions published between 1992 and 1996 in Spanish and held by 4 libraries worldwide
José, a man who has lost his memory, wanders along a country that he no longer feels his own, a place that no longer holds affective ties, personal memories linking him to a community. One day he meets Toña, a woman of great kindness, alienated due to a profound lack of affection. She tells him that in a nearby beach, many years ago, people used to go to sleep and dream a collective dream and that, in this dream, theirs pasts and the characters who lived there show up once again. José, conflicted by his loss of memory decides to go to this beach to dream in order to build, out of dreams, his lost identity. 'Jardín de pulpos' ('Octopus's Garden') is a journey through memory and identity, a painful metaphor of losses and absences, a space of the subconscious where Latin America's collective imagery wanders amidst its struggles, exiles, and oblivion. This video documents key excerpts from Malayerba's renowned production. The Grupo de Teatro Malayerba (teatromalayerba.org) was founded in Quito in 1979 by Arístides Vargas, Susana Pautasso and María del Rosario 'Charo' Francés, immigrant actors originally from Argentina and Spain. From the start, Malayerba included actors with various backgrounds and nationalities, invested in the exploration of the rich cultural diversity and complex history of Ecuador, as well as issues of migration, exile, political violence and individual and collective memory. With over 25 years of ongoing theater practice and more than 20 plays performed locally and internationally for a diverse audience, Malayerba is committed to theater pedagogy and experimentation, artistic collaboration, and community building. They have represented Ecuador in national and international theater festivals; they have also collaborated with theater groups within Ecuador and in other countries, and performed for both film and television, while engaging in community work in Quito. In 1989 the group created the Laboratorio Malayerba, committed to the training of generations of young Ecuadorian actors and to an ongoing investigation of theories and practices of experimental theater. In 2001 Malayerba launched the theater journal 'Hoja de Teatro,' conceived as a forum for the theorization, criticism and dissemination of Ecuadorian theater practices. The group also runs a theater house, the Casa Malayerba, which houses the Laboratory as well as a theater with seating capacity for seventy people. Malayerba approaches theater making as an artistic, ethical and technical realm where to engage in meaningful creative experiences through which to understand, assume and confront current sociopolitical processes. In working together, actors with various backgrounds and nationalities have shown that a multicultural blend is not only possible but also enriching, as differences lead to new identities, embodiments of dreams, memories, absences and pains that are at once local and universal
 
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Spanish (31)
English (21)
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