Date of Award


Document Type


Degree Name

Master of Arts (MA)


School of Theatre and Dance: Theatre

First Advisor

Ann Haugo


Teatro groups were a form of devised theatre that came to shape after the influential times of the Chicano National Movement of the 1960s and 70s. Due to its strong relationship with the movement, teatro became the epitome of performance culture for the Chicano/Latino public. But as Chicana scholars argue, the female narrative on stage through the use of teatro was limited, static, dichotomous, and misrepresented. This confining restriction to seeing Latina performers only as mothers, strippers, maids, and other stereotypical roles is still present today. This paper aims to articulate that this gender-subordinate representation has a history in formation, and how it continues to be present even in contemporary practices. By looking at four different teatro collectives over a four-decade span this research applies feminist rhetoric of Chicana counterpublics, vendida logic, retrofitted memory, and decolonized imagery along with the traditional grassroots style of teatro to create a new counter performance culture that embodies the paradigm of Gloria Anzaldúa’s mestiza consciousness. By giving a visual representation of border towns, embodiment, counter stances, and cultural collision there is an ability to see the inner psyche of mestiza consciousness played out in the outer terrain. Through the groups of Teatro de las Chicanas, Las Comadres, Latina Theatre Lab, and Teatro Luna I give a historical feminist argumentation on the creation of mestiza teatro, a theatrical performance style that highlights, critiques, celebrates, reimagines, and renegotiates cultural representation.


Imported from Flores_ilstu_0092N_12240.pdf


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