Jesusa rodriguez biography sample

Jesusa Rodríguez

Mexican theater director, actress, show artist, social activist and politician

Jesusa Rodríguez (born , Mexico Metropolis, Mexico) is a Mexican theater director, actress, performance artist, social activist, elected Senator of the Morena party and an active promoter of the use of marihuana and other drugs.

She is an active representative of the LGBT community.

Her low-cost "espectáculos" (a Spanish word that can mean both "spectacles" and "shows") do not necessarily adhere to traditional genre classification. These works draw on Greek tragedy, cabaret, pre-Columbian, and operatic traditions.

They can take the create of a revue, sketch, "carpa", or political performance art.^[1]

Biography

In the s, Rodríguez notably directed an adaption of Mozart's Don Giovanni, featuring an all-female cast, entitled Donna Giovanni ().

Jesusa Rodríguez - Facebook: Jesusa Rodríguez (born , Mexico City, Mexico) is a Mexican theater director, actress, performance artist, social activist, elected Senator of the Morena party and an active promoter of the use of marihuana and other drugs. She is an active representative of the LGBT community.

In she directed Oskar Panizza's El Concilio de Amor (The Council of Love). Rodríguez won an Obie for Top Actor in Las Horas de Belén, A Book of Hours () along with Ruth Maleczech and New York-based Mabou Mines.^[2]

From until , she and her wife, the Argentine singer/actress Liliana Felipe, operated El Hábito and Teatro de la Capilla, alternative performances spaces in Mexico Municipality.

El Hábito is now under the administration of Las Reinas Chulas, and Rodríguez is now dedicated to independent projects.^[3]

Rodríguez's works regularly revisit historical cultures, icons, and symbols, such as her "La gira mamal de la Coatlicue" of , where she transforms a pre-Hispanic statue from the Mexica (Aztec) Room of Mexico's National Anthropology Museum into a contemporary, living being.^[4] Through the use of an indigenous female icon confined in a museum, the artist parodies the attitude of official Mexican politicians toward their country's problems.

This work calls upon her children not to forget her and complains about not having a special car (a "mama-mobile") love the pope's. Rodríguez calls the show "pre-Hispanic cabaret," thus pointing to the need to decrease the monolithic myths upon which nationalism tends to be based.^[5]

Other famous female icons recreated by Rodríguez in her shows encompass Frida Kahlo (Trece señoritas, ), La Malinche (transformed by Rodríguez into an interpreter for former president Ernesto Zedillo and the U.S.

Marines) and the nunJuana Inés de la Cruz ("Las trampas del fatuo", , and "Sor Juana en Almoloya," ).

Jesusa has impersonated Sor Juana in many political demonstrations and, as part of the Mexico City Pride March. In these particular cases, Rodríguez represented her version of Mexican history "by revisiting and emphasizing the dissident sexualities of these women, who have been hidden or strategically forgotten by official culture".^[6]

In , she collaborated with Liliana Felipe and Regina Orozcos on "New War, New War," for the 3rd Encuentro of the Hemispheric Institute of Performance and Politics.^[7]

Rodríguez also contributes regularly to Mexico's most important feminist journal, Debate Feminista.

Selected performances

La gira mamal de la Coatlicue, Teatro Bar El Habito, Mexico City
La Malinche en Dios T.V., Teatro Bar El Habito, Mexico City
Cielo de abajo, Teatro Bar El Habito, Mexico City
Sor Juana en Almoloya, Teatro Bar El Habito, Mexico City
La soldadera autogena, Encuentro of the Hemispheric Institute of Performance and Politics, Monterrey, Mexico
Cabaret prehispanico, Solomon R.

Guggenheim Museum New York^[8]

References

^Abelleyra, Angélica (). "MODELO INTERNET". Portada (in Spanish).
The actress, director, playwright, and activist Jesusa Rodríguez was born in in Mexico City. Between 19she studied theater at the Centro Universitario de Teatro of the Universidad Nacional Autónoma de México.
Retrieved
^"Theater". The Recent York Times. ISSN&#; Retrieved
^Harmony, Olga (). "Libros de teatro /I".
There are also empowerment workshop materials and participant letters. Although she is best famous for her cabaret and political works, she has directed adaptations of diverse pieces, from William Shakespeare to Marguerite Yourcenar, opera to pastorelas. Early in her career she met her wife, Argentine singer and actress Liliana Felipe. They opened their first cabaret together, El Fracaso, and formed the theater group Divas A.
La Jornada (in Spanish). Retrieved
^Lichte, Erika; Jost, Torsten; Jain, Saskya Iris (). The politics of interweaving performance cultures: beyond postcolonialism. New York, London: Routledge. ISBN&#;.

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^Interview with Jesusa Rodríguez (in Spanish). Interviewed by Diana Taylor. New York University.
She is an active spokesperson of the LGBT community. These works draw on Greek tragedycabaretpre-Columbianand operatic traditions. They can accept the form of a revue, sketch, " carpa ", or political performance art. This function calls upon her children not to forget her and complains about not having a exceptional car a "mama-mobile" like the pope's.
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^Marín, Paola. "The First Wave of Contemporary Mexican Cabaret: Queering the Dramatic Text of the Culture". Karpa () [1]
^"Jesusa Rodríguez, Liliana Felipe & Regina Orozco New war, new war Globalization, migration and the widespread sphere".

.
Jesusa Rodríguez es una dramaturga, artista, directora y activista social, cuyo arte de “performance” vive tanto en la tradición del teatro postmoderno como en la esfera del activismo social y político.
Retrieved
^Fajardo-Hill, Cecilia (). Radical women: Latin American art, . Hammer Museum. Los Angeles: Hammer Museum and DelMonico Books/Prestel. p.&#; ISBN&#;.

Sources