Transnationalism and performance: Mexican Astrid Hadad, Chicana Mónica Palacios, and strategies of the oppressed Public Deposited

Downloadable Content

Download PDF
Last Modified
  • March 22, 2019
  • Godoy Navarro, Zaida
    • Affiliation: College of Arts and Sciences, Department of English and Comparative Literature
  • The strong national emphasis contained in the works of Mexican Astrid Hadad and Chicana Mónica Palacios should distance them, since they come from different countries. Rather than that, the term "transnationalism" explains the similarities that will be analyzed between both contemporary women. The Mexico/US national borders crossed by means of "transnationalism" represent just one of the limitations that these women confront for not belonging to the "dominant" culture of their societies. The very genre that they work with, theater, is challenged by the relevance given to the elements added: dance, music, singing, visual elements and, in the case of Palacios, stand-up comedy. Both Hadad and Palacios have often been categorized as performance women because of this and the central role that their bodies achieve during their shows. This study links them first by focusing on the several historical traditions that have influenced them (diachronically) and, then, by analyzing the similar strategies with which they address oppression and create art (synchronically).
Date of publication
Resource type
Rights statement
  • In Copyright
  • DeGuzmán, María
Degree granting institution
  • University of North Carolina at Chapel Hill
  • Open access

This work has no parents.