Collection Title: Jesusa Rodríguez & Liliana Felipe : El Hábito collection
Title: Güevita
Date: 1997 May
Location: Performed at Teatro Bar El Hábito, Mexico City, Mexico, in May 1997.
Work Type: Performance., Cabaret., Theater., Political performance., Queer performance.
Jesusa Rodríguez, writer, producer, director ; Liliana Felipe, producer, musical director ; Luis Usabiaga, writer ; Copi, writer ; Constantino Ruiz, videographer.
Coco Potenza, musician.
Jesusa Rodríguez, Liliana Felipe, Tito Vasconcelos, Andrés Loewe, Clarissa Malheiros.
Run-time (hh:mm:ss): 01:32:51
Language: In Spanish.
Synopsis: In this cabaret performance, Jesusa Rodríguez poses a satiric comment on the commodification of the posthumous image of Eva Duarte de Perón by literature, film, and pop culture. In a direct comment on the American musical 'Evita,' Rodríguez proposes an 'alternative' history of Duarte de Perón's final days and the ultimate disposal of her corpse, playfully clashing historic, real, fictional, virtual and anachronistic conceptions of time and place. 'In the face of Latin America's current social, economic, and political crisis, in an era of globalization and profound impasses, we can't help but ask ourselves a pressing question: who was Eva Perón, and what happened to her corpse?': a satiric comment on Western society's priorities, meshed with original and traditional tangos and milongas (performed by 'el Gaucho del Wonder Bra' Liliana Felipe), these questions articulate the piece as a set of three interconnected skits.The performance starts with a radio show featuring biographies of key female public figures in Latin America (sponsored by 'Jabón Radical' ('Radical Soap,' which 'cleans and reestablishes social order'). The second segment is the enacted story of the 'final events' in Evita's life: Eva (performed by Rodríguez) bought a radio station to counteract her detractors' versions of her life and death, and 'reenacts' her final days with the aid of her mother (who is about to give birth to President Carlos Menem, and wants to get the access code to Evita's bank accounts), a nurse, and a foley assistant.The third and final skit takes us to a Mexico City's Customs office, where corruption, drug dealing, and political coups brew, resulting in a change of government that intends to use Evita's body (held in customs on its way to the U.S., where Madonna intended to use it as a promotional object for her movie) as sorts of flag for the 'incorruptibility' of the new 'national body.' 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. Rodriguezs 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