Collection Title: Jesusa Rodríguez & Liliana Felipe : El Hábito collection
Title: Ensalada León Felipe
Alternate Title: León Felipe salad
Date: 1991 Aug
Location: Performed at Teatro Bar El Hábito, Mexico City, Mexico, in Aug. 1991.
Work Type: Performance., Cabaret., Political performance., Queer performance., Feminist performance.
Credits:
Jesusa Rodríguez, writer, producer, director ; Liliana Felipe, producer, original music.
Cast/Performers:
Jesusa Rodríguez, Liliana Felipe, performers.
Run-time (hh:mm:ss): 01:49:59
Language: In Spanish.
Synopsis: This is a hand-held video documentation of an evening of cabaret performance at El Hábito in 1991. It is not a play, but rather a free-flowing interaction between the performers/hostesses and the audience. Liliana Felipe walks on stage wearing a Viking hat and a skin-tight blue bodysuit, helping 'Pita Amor' (an elderly Mexican poetess, played by Jesusa Rodríguez) to her seat. While Liliana plays well-known songs from her repertoire, Pita Amor reads poems, jokes with the audience, orders Liliana around, and comments on everything from love, to the government, to feminism, all peppered with the periodical request for 'un drink' and her repeated assertion 'How I hate physical decay!' Among the audience members are Marta Lamas, founder and director of Debate Feminista (a leading feminist journal in Mexico) and Elena Poniatowska, one of Mexico's most renowned literary figures, about whom Liliana sings a song at the end of the show.This video is a testimony to the kind of space 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. 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 ('married' in February 2000) have created two performance spaces, El Cuervo and later El Hábito (www.elhabito.com.mx) in Coyoacán, Mexico City, that they still run. In these off-off spaces, 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
Address:
Jesusa Rodríguez
Liliana Felipe
Madrid 13
Coyoacán, México D.F., 04100
Email: resistenciacreativa@gmail.com
Website: http://www.elhabito.com.mx/