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Digging Up the Dirt

 

See Review:  http://www.ocweekly.com/2010-08-05/culture/cherrie-moraga-digging-up-the-dirt-breath-of-fire-latina-theater-ensemble/

 
The Mathematics of Love


"Mathematics of Love" takes place in the lobby of the Biltmore Hotel at the turn of this century in Los Angeles.  The main character is "PEACHES" an aging and early-staged Alzheimer Mexican woman who, along with her Anglo husband, POPPA, is awaiting the arrival of their out-of-town son, "God."  He is to throw an anniversary party for them the following day.  In the interim, while they wait (the play takes place over one afternoon until dawn the next day), the couple's middle-aged DAUGHTER mediates between the opposing characters of her parents, while mourning the recent death of her beloved partner, Virginia.  PEACHES reviews the major traumas of her life -- the betrayals from family members (as she perceives them) and an emotionally absent husband.  She is pretty much stuck in the current biography of her life, until the character of MALINXE arrives to shed some light on PEACHES' past through a grander historical lens.  (Malinche Tenepal was the Indigenous slave who was given to the Spanish Conquistador, Hernan Cortez upon his arrival in Mexico in 1519.  She became his mistress, translator and tactical advisor and, although a slave, is historically considered a traitor to Indigenous Mexico.)

Through the character of MALINXE, (originally conceived by playwright, Ricardo Bracho, who contributed several scenes to "Mathematics") PEACHES is required to come to terms with a kind of collective guilt carried by Mexican women over five centuries of colonization.  The theme of betrayal is especially salient and mirrored between the two women, as both their lives have been marked by "sleeping with the enemy."  As the play time travels across those five hundred years, collapsing time and technology, PEACHES becomes a pre-teen Tohono O'odham servant to a 17th c. MALINXE.  At times MALINXE, in Aztec regalia, can be seen e-dating on the hotel computer while PEACHES appears in a Californio Mission-style penitent outfit.  Of course, "God" never arrives in the play; at least not in the form PEACHES had expected.  Still, the play attempts to tell us a bit of how we calculate the gains and losses of love, not just in our individual lives, but the life of a people. 

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The Hungry Woman: A Mexican Medea
In "The Hungry Woman," an apocalyptic play written at the end of the millennium, Moraga uses mythology and an intimate realism to describe the embattled position of Chicanos and Chicanas, not only in the United States but in relation to each other. Drawing from the Greek Medea and the Mexican myth of La Llorona, she portrays a woman gone mad between her longing for another woman and for the Indian nation which is denied her.
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Heart of the Earth: A Popol Vuh Story

In Heart of the Earth, a feminist revisioning of the Quiché Maya Popul Vuh story, Moraga creates an allegory for contemporary Chicanismo in which the enemy is white, patriarchal, and greedy for hearts, both female and fecund. Through humor and inventive tale twisting, Moraga brings her vatos locos home from the deadly underworld to reveal that the real power of creation is found in the masa Grandma is grinding up in her metate. The script, a collaboration with master puppet maker Ralph Lee, was created for the premiere production of the play at The Public Theater in New York in 1994. In an afterword to this edition, Moraga comments on her concerns about nationhood, indigenism, queer sexuality, and gender information.

 

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Heroes and Saints

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Shadow of a Man

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Coatlicue's Call/ El llamado de Coatlicue

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Giving Up the Ghost

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