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Latina Performance: Traversing the Stage (Unnatural Acts: Theorizing the Performative) (Inglés) Encuadernación de biblioteca – 22 sep 1999


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Arrizon's (Arrizon's) important book revolves around the complex issues of identity formation and power relations for US women performers of Latin American descent. Latinas use writing and performance to address gender and sexuality within an ever--changing framework of their lives and history, redefining Latina identity and subjectivity. The Chicana/o theatrical tradition since the 1960s owes a debt to the popular Spanish--language vaudeville forms performed by Beatriz Escalona (La Chata Noloesca), the work of Josefina Niggli in community theater, and other performers who recognized the common core of their community as based on a consciousness of historical collectivity and pluralistic sensitivities. The Latina experience is broad and complex, and the term traversing in the title indicates a movement that induces the subject into an uncertain position, with transitions in identity and space. In Cross--Border Subjectivity and the Dramatic Text, Arrizon (Arrizon) addresses geopolitics and cultural survival in work by Milcha Sanchez--Scott, Dolores Prida, and Josefina Lopez; Self--Representation: Race, Ethnicity, and Queer Identity looks at the work of performance artists Monica Palacios and Alina Troyano/Carmelita Tropicana. Valuable for anyone interested in theater history and criticism, cultural studies, gender studies, and ethnic studies with attention to Mexican American, Chicana/o, and Latina/o studies. Upper--division undergraduates through professionals.E. C. Ramirez, St. Philip's College, Choice, February 2002 Arrizon's (Arrizon's) important book revolves around the complex issues of identity formation and power relations for US women performers of Latin American descent. Latinas use writing and performance to address gender and sexuality within an ever changing framework of their lives and history, redefining Latina identity and subjectivity. The Chicana/o theatrical tradition since the 1960s owes a debt to the popular Spanish language vaudeville forms performed by Beatriz Escalona (La Chata Noloesca), the work of Josefina Niggli in community theater, and other performers who recognized the common core of their community as based on a consciousness of historical collectivity and pluralistic sensitivities. The Latina experience is broad and complex, and the term traversing in the title indicates a movement that induces the subject into an uncertain position, with transitions in identity and space. In Cross Border Subjectivity and the Dramatic Text, Arrizon (Arrizon) addresses geopolitics and cultural survival in work by Milcha Sanchez Scott, Dolores Prida, and Josefina Lopez; Self Representation: Race, Ethnicity, and Queer Identity looks at the work of performance artists Monica Palacios and Alina Troyano/Carmelita Tropicana. Valuable for anyone interested in theater history and criticism, cultural studies, gender studies, and ethnic studies with attention to Mexican American, Chicana/o, and Latina/o studies. Upper division undergraduates through professionals.E. C. Ramirez, St. Philip's College, Choice, February 2002" Arriz n's (Arrizon's) important book revolves around the complex issuesof identity formation and power relations for US women performers of Latin Americandescent. Latinas use writing and performance to address gender and sexuality withinan ever -- changing framework of their lives and history, redefining Latina identityand subjectivity. The Chicana/o theatrical tradition since the 1960s owes a debt tothe popular Spanish -- language vaudeville forms performed by Beatriz Escalona (LaChata Noloesca), the work of Josefina Niggli in community theater, and otherperformers who recognized the common core of their community as based on aconsciousness of historical collectivity and pluralistic sensitivities. The Latinaexperience is broad and complex, and the term traversing in the title indicates amovement that induces the subject into an uncertain position, with transitions inidentity and space. In Cross -- Border Subjectivity and the Dramatic Text, Arriz n(Arrizon) addresses geopolitics and Arriz?n's (Arrizon's) important book revolves around the complex issuesof identity formation and power relations for US women performers of Latin Americandescent. Latinas use writing and performance to address gender and sexuality withinan ever -- changing framework of their lives and history, redefining Latina identityand subjectivity. The Chicana/o theatrical tradition since the 1960s owes a debt tothe popular Spanish -- language vaudeville forms performed by Beatriz Escalona (LaChata Noloesca), the work of Josefina Niggli in community theater, and otherperformers who recognized the common core of their community as based on aconsciousness of historical collectivity and pluralistic sensitivities. The Latinaexperience is broad and complex, and the term traversing in the title indicates amovement that induces the subject into an uncertain position, with transitions inidentity and space. In Cross -- Border Subjectivity and the Dramatic Text, Arriz?n(Arrizon) addresses geopolitics and

Reseña del editor

"Traversing the Stage" examines the Latina subject whose work as dramatist, actress, theorist, and/or critic further defines the field of theater and performance in the United States. Alicia Arrizon looks at the cultural politics that flows from the intersection of gender, ethnicity, race, class, and sexuality. The analysis ranges from the transgressive/innovative roles played by Latina performing artists and dramatists to the configurations that result from the intersection of third world feminist politics and Anglo American discourses."Traversing the Stage" considers the emergence of a Latina aesthetics developed in the United States, but simultaneously linked with Latin America. Latina as an allegory for identity encompasses women of Latin American descent who reside in the United States. These women may be descendants of natives or longtime migrants; in either case, they are subjects of conquest, revolution, annexation, dislocation and patriarchal subordination. As dramatists, performance artists, protagonists and/or cultural critics, the women Arriz - examines in this book, foreground their own divided position. In the space along the unstable border between 'mainstream' and 'margin', these women experience their subjectivity as in process. They are neither Latin American nor Anglo, neither third nor first world; they are feminists, but not quite 'American style'. This in-between-ness, "Traversing the Stage" argues, is precisely what dictates the development of Latina performance studies.

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