Respostas
Resposta:
In December of 1997, Luis Alfaro’s play Los Vecinos: A Play for Neighbors went up in a Chicano community center in Los Angeles. The piece was staged as a means of bridging the gap between the usual theatergoing audience and the communities upon which so much of Latina theater and performance art are focused. Relying on the resources of the community rather than imposing their own, the directors collaborated with many nonprofessional actors from the Boyle Heights neighborhood in which the play was being staged, and made use of the limited lighting and production tools of the nontraditional space of the community center. When a writer from the Los Angeles Times reviewed the play, she wrote disparagingly that it had “actually looked like a community production.” Its untrained actors, raw staging and brazen themes were read by her as a lack of the polish and canonical markers she expected from a “professional” production. When, however, the production is imagined not as trying to work itself into the cannon of traditional theater but rather as crafting itself within whole other lineages of performance—such as those of camp, DIY, pasterola and punk—we may come to understand that the production was not falling short of professionalism, but, rather, actively challenging the very means through which we evaluate art and understand its duties
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