Unimagined Communities
DIANA TAYLOR AND ROSELYN COSTANTINO
This volume brings together a divergent group of women artists involved
in some of the most important aesthetic and political movements of Latin
America.1 In one sense, these women don’t have a lot in common either
ethnically or artistically. Diana Raznovich, a feminist playwright and car-
toonist born in Argentina in 1945, is descended from Russian Jews who
fled the pogroms at the turn of the nineteenth century and boarded the
wrong boat (they thought they were going to the United States). Griselda
Gambaro, Argentina’s most widely recognized playwright, was born in
1928 and is of Italian origin. Denise Stoklos, author, director, and Bra-
zil’s most important solo performer, was born in 1950 in the south of
Brazil, and is of Ukrainian extraction. Diamela Eltit, born in Santiago,
Chile in 1949, has a Palestinian grandfather. Astrid Hadad, performer,
singer, director, and manager of her show, born in the southern Mexican
state of Quintana Roo in 1957, is of Lebanese heritage. Jesusa Rodríguez,
director, actor, playwright, entrepreneur, and feminist activist, born in
1955, is of Mexican indigenous and European ancestry. Also born in
1955, Sabina Berman, playwright, director, poet, novelist, and screen-
writer, is of Polish Jewish extraction. Petrona de la Cruz Cruz and Isabel
Juárez Espinosa, cofounders of the Fortaleza de la Mujer Maya (fomma)
in Chiapas, Mexico, both born in the 1960s, are Tzotzil Mayan and Tzeltal
Mayan, respectively. El teatro la máscara (the Theatre of the Mask), a
woman’s collective from Cali, Colombia, which started in the early 1970s,
includes women of diverse ethnic origins. Teresa Ralli, a founding actor,
director, and writer of Peru’s foremost theatre collective, Grupo Cultural
Yuyachkani, is a limeña of mixed ethnic origin. Teresa Hernández, from
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