Dragging Narcocultura in Herbert Siguenza’s Bad Hombres/Good Wives
DOI:
https://doi.org/10.37536/cr.2022.17.2909Palabras clave:
Borderlands, género, latino, masculinidad, teatroResumen
El teatro fronterizo es un género escénico tradicionalmente atrincherado en rígidas definiciones de género, pero el género también contiene una refutación del manto universalizador de la blancura y una firme retención de la especificidad cultural chicana. Esta tensión entre resistencia y compulsión se extiende a los rígidos roles de género del género. El teatro fronterizo se aferra a los roles de género y responde a ellos. El trabajo de Herbert Siguenza en Bad Hombres/Good Wives, una comedia teatral representada del 3 al 27 de octubre de 2019 en el San Diego Repertory Theatre, es un excelente ejemplo de esta tensión de género dentro del teatro Borderlands. El compromiso de la obra con el drag como refuerzo de los roles de género contrasta con su queering de la narcocultura. El uso problemático del drag en esta obra amplía las nociones de lo carnavalesco y lo grotesco, pero como pieza dramática Bad Hombres/Good Wives no consigue crear ni un espacio queer ni un espacio transgresor de fronteras.
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Derechos de autor 2025 Maria Patrice Amon, Antonio De la Garza; Sonia Desai
Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
