The Theatrical Politics of Chicana/Chicano Identity: from Valdez to Moraga

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dc.contributor.author Jacobs, Elizabeth
dc.date.accessioned 2011-02-22T11:37:55Z
dc.date.available 2011-02-22T11:37:55Z
dc.date.issued 2007-02
dc.identifier.citation Jacobs , E 2007 , ' The Theatrical Politics of Chicana/Chicano Identity: from Valdez to Moraga ' New Theatre Quarterly , vol 23 , no. 1 , pp. 25-35 . , 10.1017/S0266464X06000601 en
dc.identifier.issn 0266-464X
dc.identifier.other PURE: 157829
dc.identifier.other dspace: 2160/6132
dc.identifier.uri http://hdl.handle.net/2160/6132
dc.identifier.uri http://journals.cambridge.org/action/displayIssue?jid=NTQ&volumeId=23&seriesId=0&issueId=01 en
dc.description Jacobs, E. (2007) Reasserting Ethnicity from a Feminist Perspective, The Theatrical Politics of Chicana and Chicano Identity: from Valdez to Moraga. New Theatre Quarterly 23, (1), pp. 25-35 en
dc.description.abstract Critical opinion over the role of popular culture in relation to ethnic and cultural identity is deeply divided. In this essay, Elizabeth Jacobs explores the dynamics of this relationship in the works of two leading Mexican American playwrights. Luis Valdez was a founding member of El Teatro Campesino (Farmworkers' Theatre) in California during the 1960s. Originally formed as a resistance theatre, its purpose was to support the Farmworkers' Union in its unionization struggle. By the early 1970s Valdez and the Teatro Campesino were moving in a different direction, and with Zoot Suit (1974) he offered a critique of the race riots that erupted in East Los Angeles during the summer of 1943, the subsequent lack of reasonable judicial process, and the media misrepresentation of events. Valdez used setting, music, slang, and dress code among other devices to construct a sense of identity and ethnic solidarity. This provided a strong voice for the Chicano group, but at the same time a particular gendered hierarchy also distinguished his aesthetic. Cherríe Moraga's work provides a balanced opposition to that of Valdez. Giving up the Ghost (1984) helped to change the direction of Chicano theatre both in terms of its performativity and its strategies of representation. Elizabeth Jacobs explores how Moraga redefines both the culturally determined characterization of identity presented by Valdez and the media representation of women. She also utilizes theatrical space as a platform for a reassertion of ethnicity, allowing for the innovation of a split subjectivity and radical lesbian desire. Giving up the Ghost, Jacobs argues, provides a trenchant critique of communal and popular culture discourses as well as a redefinition of existing identity politics. en
dc.format.extent 11 en
dc.language.iso eng
dc.relation.ispartof New Theatre Quarterly en
dc.title The Theatrical Politics of Chicana/Chicano Identity: from Valdez to Moraga en
dc.type Text en
dc.type.publicationtype Article (Journal) en
dc.identifier.doi http://dx.doi.org/10.1017/S0266464X06000601
dc.contributor.institution Department of English and Creative Writing en
dc.description.status Peer reviewed en


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