By Linda Saborío
Embodying distinction: Scripting Social photographs of the feminine physique in Latina Theatre explores modern theatrical productions through Latina dramatists within the usa and makes a speciality of the consequences that neoliberal politics, worldwide marketplace suggestions, gender formation, and racial and ethnic marginalization have had on Latinas. in the course of the research of choose performs by way of dramatists Nao Bustamante, Coco Fusco, Anne García-Romero, Josefina López, Cherríe Moraga, Linda Nieves-Powell, Dolores Prida, and Milcha Sánchez-Scott, Embodying Difference indicates how the our bodies of Latinas are represented on level on the way to create a picture of Latina consolidation. The performances of a dynamic girl physique problem assumptions approximately ethno-racial expressions, exoticized “otherness,” and political correctness as this e-book explores frequently uneasy websites of representations of the physique together with phenotype, sexuality, weight problems, and the physique as a political marker. Drawing at the theoretical framework of distinction, together with differing gender voices, performances, and performative acts, Embodying Difference examines social pictures of the Latina physique as a way of knowing and rearticulating Latina subjectivity via an expression of distinction. through a gentle consciousness and self-acclamation in their personal pictures, Latinas can learn how to include notions of self that suggest their curvaceous, sexualized, and outsized our bodies that experience traditionally been marked and advertised through their “brownness.”
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Extra info for Embodying Difference: Scripting Social Images of the Female Body in Latina Theatre
Sample text
Prida’s staging of women’s menstrual cycles foregrounds a different psychology and a different subjectivity for females based exclusively on biological differences. Since these biological differences are inherently a “natural” order, then it is the language used to describe them, and a process whereby their negative understandings are “demythified,” which needs to be performed. In this scene, Prida skillfully gives voice to Latinas who have been traditionally silenced and even taught to feel ashamed of their menstrual cycle and childbearing abilities.
Christie et al. (New York: Pearson Education, 2006), 546. 41. , 548. 42. Stuart Hall proposes that “all identity is constructed across difference” while recognizing certain “politics of difference” from which identities are articulated. See “Minimal Selves” in Identity, ed. Lisa Appignanesi. (London: ICA Document 6, 1987), 44. 43. Until fairly recently, Italian Americans might have had more in common with Latina/os than with Anglo Americans. 44. This is not to suggest that Latinas are not considered “Third World women” or “women of color,” but rather I recognize a shared commonality among the minority women groups in their struggles against imperialist, misogynist practices.
The Catch Women’s exaggerated performances suggest that some males seek an idealization of Latinas based on performative acts of the body, acts that, without a doubt, fulfill the fantasy of male voyeurism. The physicality of the relationship assumes a type of hypersexual fantasy game not based initially on love, friendship, or even an exchange of intellectual banter, but instead the ability to correctly perform with the body. The female body, then, becomes a means of upholding institutional ideals of marriage via a contradictory process where a performance of sexuality leads to the realization of what is often deemed a non-sexual role of wife and mother.