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Excerpts from ‘‘Genesis,’’ ‘‘Barbie: The Revenge of the Devil,’’ and ‘‘Censorship: The Bald Rat in the Garbage’’

© 2020 Duke University Press, Durham, USA

© 2020 Duke University Press, Durham, USA

Chapters in this book

  1. Frontmatter i
  2. Contents v
  3. List of Illustrations ix
  4. Preface xiii
  5. Unimagined Communities 1
  6. Diana Raznovich (Argentina)
  7. Manifesto 2000 of Feminine Humor 27
  8. From the Waist Down 43
  9. What Is Diana Raznovich Laughing At? 73
  10. Griselda Gambaro (Argentina)
  11. Strip 95
  12. Diamela Eltit (Chile)
  13. Excerpts from Lumpérica (E. Luminata): ‘‘From Her Forgetfulness Project’’ and ‘‘Dress Rehearsal’’ 107
  14. Diamela Eltit: Performing Action in Dictatorial Chile 117
  15. Denise Stoklos (Brazil)
  16. Selections from Writings on Essential Theatre 137
  17. Casa 140
  18. The Gestural Art of Reclaiming Utopia: Denise Stoklos at Play with the Hysterical-Historical 152
  19. Astrid Hadad (Mexico)
  20. Selected Lyrics and Monologue Fragments 181
  21. Politics and Culture in a Diva’s Diversion: The Body of Astrid Hadad in Performance 187
  22. Jesusa Rodriguez (Mexico)
  23. Sor Juana in Prison: A Virtual Pageant Play 211
  24. Nahuatlismo: The Aztec Acting Method 227
  25. The Conquest According to La Malinche 231
  26. Excerpts from ‘‘Genesis,’’ ‘‘Barbie: The Revenge of the Devil,’’ and ‘‘Censorship: The Bald Rat in the Garbage’’ 235
  27. Katia Tirado And Ema Villanueva (Mexico)
  28. Wrestling the Phallus, Resisting Amnesia: The Body Politics of Chilanga Performance Artists 247
  29. Sabina Berman (Mexico)
  30. The Agony of Ecstasy: Four One-Act Plays on a Single Theme 279
  31. Petrona De La Cruz Cruz (Mexico)
  32. A DesperateWoman: A Play in TwoActs 293
  33. Eso sí pasa aquí: Indigenous Women Performing Revolutions in Mayan Chiapas 311
  34. Teatro La Mascara (Colombia)
  35. Teatro la máscara: Twenty-Eight Years of Invisibilized Theatre 333
  36. Teresa Ralli (Peru)
  37. Fragments of Memory 355
  38. Excerpts from Antígona 365
  39. Rosa Luisa Marquez (Puerto Rico)
  40. Between Theatre and Performance 373
  41. Teresa Hernandez (Puerto Rico)
  42. How Complex Being Is, or, The Complex of Being 387
  43. Teresa Hernández vs. the Puerto Rican Complex 394
  44. Tania Bruguera (Cuba)
  45. Performing Greater Cuba: Tania Bruguera and the Burden of Guilt 401
  46. Selected Bibliography 417
  47. Contributors 441
Holy Terrors
This chapter is in the book Holy Terrors
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