Spectators, Actors and the American Dramatic Text
Edited By Barbara Ozieblo and María Dolores Narbona-Carrión
Food, Cultural Identity, and the Body. New Recipes for Latinas’ Emerging Selves 215
Food, Cultural Identity, and the Body New Recipes for Latinas’ Emerging Selves Esther ÁLVAREZ-LÓPEZ University of Oviedo The conspicuous references to food, cooking and the body in plays written by Latinas clearly evidence the importance they accord to these interconnected issues. Aware as they are of the societal function of theater and of the fact that it is “far more engrossing when audience members can readily relate to and identify with what they see on stage,” (Arrizón 114) dramatists address a particular audience of Latina women for whom these themes may have paramount “weight” at some point in their lives. Playwrights thus attempt to show in their plays how these three factors conform and affect Latina subjectivity. In them they deal with the conception of food and cooking as signifiers of culture and of the self, at the same time that they carry out a politics of identity and visibility which insists on the materiality of the body. In this way, they bring to the fore the corpo/reality of Latina women, a metaphor for the embodiment of difference, femaleness and Latinidad. With the performances of (female) bodies in revolt these dramatists also critique pervasive cultural standards of anorectic beauty in vogue, denouncing the current participation of women in, and their subjugation to, all sorts of noxious processes of bodily control. To counteract the damaging effects of such practices on Latinas’ subjectivities, plays are populated with women who are anything but slim (Josefina López’ Real Women Have Curves1)...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.