By Linda Saborío
Embodying distinction: Scripting Social pictures of the feminine physique in Latina Theatre explores modern theatrical productions via Latina dramatists within the usa and specializes in the results that neoliberal politics, worldwide marketplace concepts, gender formation, and racial and ethnic marginalization have had on Latinas. during the research of opt for 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 so as to create a picture of Latina consolidation. The performances of a dynamic woman physique problem assumptions approximately ethno-racial expressions, exoticized “otherness,” and political correctness as this booklet 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 photos of the Latina physique as a way of knowing and rearticulating Latina subjectivity via an expression of distinction. via a gentle attention and self-acclamation in their personal pictures, Latinas can learn how to embrace notions of self that suggest their curvaceous, sexualized, and outsized our bodies that experience traditionally been marked and advertised by way of their “brownness.”
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Extra info for Embodying Difference: Scripting Social Images of the Female Body in Latina Theatre
In Isabel Molina-Guzmán’s study of representations of Latinas in the media, she argues that there exists a “tension between the culture industry’s demands for ethnic female sexuality and the continuing backlash against ethnic and racial minority women . . ” It is not until they ultimately remove the imposing masks that a process of self-discovery begins, one that includes marking themselves as visible, but 14 Chapter 1 where notions of difference are not contained by mainstream expectations. What they learn, in the end, is how to correlate the body, language, and Latina self-identification into a performance of difference in defiance of singular, unchanging, and monolithic classifications.
This scene decisively establishes the notion that, indeed, while women are biologically different than men, it is a particular understanding of female/ male based on cultural, personal, and historical experiences, which affects the expected performative act of both genders. Representative of machismo, Don José is expected to be disappointed when his firstborn is a female child, just as the female child is expected to pass through life facing, often simultaneously, hardship and adoration. As we will see, this performative act of the female gender is not a self-scripted act but instead involves the acknowledgement, reaction, and even affirmation of others—the spectators of the performative act—in order to be realized.
While her performance runs the risk of alienating her from dominant understandings, it is, ultimately, a risk worth taking. A performative act of the female body that defies any affirmation of Latina “authenticity” becomes, then, a means of self-exploration as the beauty queens begin to question the various restrictive scripted roles being performed throughout the contest. In the end, the women begin to describe what their identity does not constitute, such as, “It is not the clothes,” “Or the hair,” “Or the lipstick,” “Or the cooking,” until Woman 3 eventually asks the most pertinent question, “But .