Collection Title: Jesusa Rodríguez & Liliana Felipe : El Hábito collection
Title: Pastorela terrorista
Alternate Title: Terrorist pastorela
Date: 2004 Mar
Location: Performed at Teatro Bar El Hábito, Mexico City, Mexico, in Mar. 2004.
Work Type: Performance., Cabaret., Political theater., Farce., Satire.
Jesusa Rodríguez, writer, producer, director ; Liliana Felipe, producer, music.
Jesusa Rodríguez, protagonist ; Nora Huerta, Cecilia Sotres, Amanda Schmelz, Oscar Passo, Carlos Juárez, Liliana Felipe, cast.
Run-time (hh:mm:ss): 01:56:45
Language: In Spanish.
Synopsis: Cabaret performance posing a satiric take on the Manichean thought fueling current Western (conservative) religion, pedagogy, and politics. Farsical characters evidence an Orwellian 'doublethink', engaging in demagogical discourses of self-righteousness while evidencing the power games at play in school, church, and government. In the context of the US war on Iraq (2003), its Coalition of the Willing and War on Terrorism, a fascist teacher and a flock of 'angels' (political leaders Blair, Aznar, Sharon and Bush) stretch language in rhetorical twists aimed at demonstrating a clear-cut distinction between Good and Evil. A 'pastorela' (Nativity play) evidences their take on terrorism.As an alternative to this political stance, a parodic pseudo-religion or self-help workshop, the 'Sagrada Iglesia del Intermedio' (a pun translated as Sacred Church of Intermission or Sacred Church of the In-Between) is introduced by the Goddess of the Interstice, Uncertainty, Paradox and Pleasure (played by Jesusa Rodríguez), advocate of unveiling the ideological agendas underlying binary thought, proposing instead a relativistic gesture of ludic intermediation. Mexican director, actress, playwright, performance artist, scenographer, entrepreneur, and social activist Jesusa Rodréguez 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