El arte, para tener un lugar en el mundo, tiene que ser prospectivo, mirar al futuro, inventar; pero sin confundires con otros, el de Francia, el de Estados Unidos o el de Argentina. No puede ser intencional (como un hotel).
“Discurso De Ingreso A La Academia”
Cuadernos De Amaxac: A Fin De Cuentas, El Arte Arde En El Infierno
Because writing is like putting your head underwater. It takes a great effort to go under, to push yourself to the sea bottom, a tremendous courage to withstand the pressure and pain and stay down there. Then the bobbing to the surface when a lifeline tugs you back.
Sandra Cisneros (“Introduction to the Third Edition” Borderlands/La Frontera: The New Mestiza by Gloria Anzaldua)
The play, having finally been completed in its first draft status has been officially submitted to:
eSe Teatro’s Multicultural Playwright’s Festival!
This is very exciting! What’s most encouraging is that the festival accepts plays in any stage of development so I don’t get to miss out on this opportunity despite not having finalized my draft. For that, I’m hoping for another month’s worth of work. It should go by faster, though, since the hardest part for me is always to sit down and create. Whereas to sit down to edit and criticize is essentially second-nature. OH! I speak valiantly. I’ve never actually 1. written a full length and, consequently, 2. revised a full length play so we shall see if I eat my words later!
Bottom line, though:
This is good :)
“Bernabé introduces us to three figures who contrast sharply with each other: the mother, the prostitute, and the new woman of power. Each character begins with traditional roles, but in the context of socio-political events she moves from victim to liberator and activist. These women are pivotal in Bernabés’s life. Valdez uses the universal theme of male supremacy over land, power, and wealth to illustrate that man’s wish to attain land frequently creates the antithesis of that desire in man’s exploitation of human beings by society. By the end of the drama, man has been redeemed by woman, who has been able to renew and revive him within a higher, spiritual realm that is part of a cosmos in which Chicana/Chicano ideology reigns supreme” (88).
“We witness what Diana Taylor has identified as a key element of Latin American dramatists: “They approach specific issues that are key to an understanding of Latin America and its cultural images- among them, colonialism, institutionalized violence, revolution, identity and self-definition, and socio-economic centrality versus marginality-in a variety of strikingly powerful ways” (99).
Ramírez, Elizabeth C. Chicanas/Latinas in American Theatre: A History of Performance. Bloomington: Indiana UP, 2000. Print.
“Latinopia.com is a place to discover & discuss Latino Arts, Latino History, Latino Music, Latino Literature, Latino Cooking and Latino Cinema”
I decided that the original beginning of my thesis didn’t work for me. Then, I decided that the second beginning of my thesis didn’t work for me (in part because it wasn’t written). So I began a third and, I gotta say, the third time is the charm! At least for this draft. Strangely, even though I want to make this dramatic, it’s taken a turn for the comedic.
Now I’m curious about who I’m seeing as an audience in writing this particular, seemingly comedic piece? Well, me. Y mis compatriotas Mexicanos, por supuesto.
Here is some humor to go with my piece.