Collection Title: Jesusa Rodríguez & Liliana Felipe : El Hábito collection
Title: Foximiliano y Martota
Alternate Title: Foximiliano and Martota
Date: 2003 June
Location: Performed at Teatro Bar El Hábito, Mexico City, Mexico, in June 2003.
Work Type: Performance., Cabaret., Theater., Satire., Political performance., Queer performance.
Jesusa Rodríguez, writer, producer, director ; Liliana Felipe, producer, original music.
Jesusa Rodríguez, Ana Francis Mor, Nora Huerta, Marisol Gasé, Cecilia Sotres, Liliana Felipe, Pedro Maya.
Run-time (hh:mm:ss): 01:59:17
Language: In Spanish.
Synopsis: Installed in the Castle of Chapultepec and conflating the 19th, 20th, and 21st centuries, Mexico's former emperor Maximilian of Habsburg, his wife Carlota, and former President Benito Juárez await 'History's judgment.' In the meantime, they entertain themselves -and the audience, a 'flock' to whom thought is prohibited- 'killing time with historic dignity.' The historical characters play betting games of dexterity (betting the political destiny of the fatherland), play political miniature horse races, perform a ballroom gestural dance to Catholicism, and watch a satiric puppet rendition of 'Red Riding Hood' where a girl resembling Mexico's First Lady Marta Sahagún teams up with an American wolf (who is in war with Iraq) in order to kill Grandma Vicenta (resembling President Vicente Fox) and seize political control of the hemisphere. In the meantime, Carlota, historically accused of madness, asks her 'magic' mirror to predict Mexico's 2006 electoral outcome.From Carlota's futuristic mirror (a 'reflecting film'), once 'reloaded,' springs History, who comes to judge the political characters and the problems of Mexico's so-called progress, ultimately deciding to stop the course of historical events. To Carlota's question on who will win the 2006 presidential race, History responds that no one can achieve it except for Mexico's athlete Ana Gabriela Guevara. But the athlete (staged as a transformed/strip-teased Juarez) refuses to get involved in politics, ending the story, and thus leaving History as an open ended question mark. Mexican director, actress, playwright, performance artist, scenographer, entrepreneur, and social activist Jesusa Rodríguez has been called the most important woman of Mexico. Often referred to as a 'chameleon,' Rodríguez moves seemingly effortlessly and with vigor across the spectrum of cultural forms, styles, and tones.Her 'espectáculos' (as both spectacles and shows) challenge traditional classification, crossing with ease generic boundaries: from elite to popular to mass, from Greek tragedy to cabaret, from pre-Columbian indigenous to opera, from revue, sketch and 'carpa,' to performative acts within political projects. Humor, satire, linguistic play, and the body are constants in her productions. She seeks to render corporal and, thus, visible, the tensions between the discourses in operation on and through the individual and collective body. Rodriguez's energy is intense and her commitment non-negotiable, always interrogating the nature, site, and consequences of power and its representation. Liliana Felipe, one of Latin America's foremost singers and composers, was born in Argentina in the 1950s. She left for Mexico just before the outbreak of the 'Dirty War' (1976), but her sister and brother-in-law were both 'disappeared'--victims of the military dictatorship's criminal politics.Liliana's music has a wide following in Latin America. She continues to be a powerful presence in Argentina, working with human rights organizations--especially H.I.J.O.S. (the organization of the children of the disappeared). In Mexico, Liliana went to one of Jesusa Rodríguez's performances. Jesusa, catching a glimpse of Felipe in the audience, remembers saying to herself: 'I am going to die with that woman.' Since then, Liliana and Jesusa have created two performance spaces, El Cuervo and later El Hábito in Coyoacán, Mexico City, that they still run. They 'married' in February 2000. El Hábito ( is a hotbed for intellectuals, feminists, gay rights activists and open-minded, progressive people who want to be engaged by a smart and critical humor. In this off-off space, and with the collaboration of their theater cooperative Las Divas, Jesusa y Liliana have produced hundreds of shows since the 1980s.
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Copyright Holder: El Hábito
Contact: Jesusa Rodríguez, Liliana Felipe
Jesusa Rodríguez
Liliana Felipe
Madrid 13
Coyoacán, México D.F., 04100