Bibliography

There is no translation available.

[compiled by Angela Marino Segura, 2008]


Alzate, Gastón Adolfo. "Jesusa Rodríguez: Cabaret, disidencia y legitimación en el teatro mexicano contemporáneo." Gestos: Teoría y Práctica del Teatro Hispánico 14.28 (1999): 81-102.

---. "Negotiating the Dissidence: Cultural Analysis of the Theater Work of Jesusa Rodríguez and Astrid Hadad." Diss. Arizona State U, 1997.

Bixler, Jacqueline. "El sexo de la política y la política del sexo en dos obras 'freudianas' de Sabina Berman y Jesusa Rodríguez." Teatro XXI 8.14 (2002): 8-11.

Carroll, Amy Sara. "A critical regionalism: Mexico's Performative Range-of-Motion in Madre por un día and the Rodríguez/Felipe Wedding." e-misférica 2.2: Sexualities and Politics in the Americas (2005).

Costantino, Roselyn. "Embodied Memory in Las Horas De Belén. A Book of Hours." Theatre Journal (2001): 607-32.

---. "Jesusa Rodríguez: An Inconvenient Woman." Holy Terrors: Latin American Women Perform. Ed. Taylor, Diana and Roselyn Costantino. Durham: Duke U P, 2003. 183-212.

---. "Performance in Mexico: Jesusa Rodríguez's Body in Play." Corpus Delecti: Performance Art of the Americas. Ed. Coco Fusco. London-New York: Routledge, 2000. 63-77.

Day, Stuart A. "Misa (Neoliberal) en Los Pinos." Gestos 17.33 (2002): 111-117.

Diéguez Caballero, Ileana. "Resistencias lúdicas/ Cartografías del deseo." Escenarios liminales. Teatralidad, performances y política. Buenos Aires: Atuel, 2007.

Felipe, Liliana and Jesusa Rodríguez. "Fallamos como especie (Lyrics by Liliana Felipe, Music by Jesusa Rodríguez and Liliana Felipe)." Debate Feminista 16.31 (2005): 367-370.

Franco, Jean. "A Touch of Evil: Jesusa Rodríguez's Subversive Church." Negotiating Performance: Gender, Sexuality, and Theatricality in Latino America. Ed. Taylor, Diana and Juan Villegas. Durham, NC: Duke U P, 1994. 159-75.

---. "A Touch of Evil: Jesusa Rodríguez's Subversive Church." TDR: A Journal of Performance Studies 36.2 (1992): 48-61.

Gacio Suárez, Roberto. "Reivindicar la risa: Taller de cabaret político." Conjunto 133 (2004): 24-27.

Gladhart, Amalia. "Monitoring Sor Juana: Satire, Technology, and Appropriation in Jesusa Rodríguez's Sor Juana En Almoloya." Revista Hispánica Moderna 52.1 (1999): 213-26.

Grant, Leopoldo Cabranes. "A Failed Mass: Jesusa Rodríguez and her Striptease de Sor Juana." e-misférica 5.1: Traveling Virgins (Spring 2008).

Horn, Maja. "'New War New War': Jesusa Rodríguez on Politics, Pleasure and Performance." Hemispheric Institute of Performance and Politics, New York University. July 2002. 22 Oct. 2007

Jiménez, Christie. "Once, Twice, and for All: Experiencing 'All of Cabaret PreHispanico El Ombligo de las Diosas,' a performance by Jesusa Rodríguez and Liliana Felipe." Hemispheric Institute of Performance and Politics, New York University. 2005. 22 Oct, 2007.

Kelty, Mark James and Blanca Kelty. "Interview with Jesusa Rodríguez." Latin American Theatre Review 31.1 (1997): 123-7.

---. "Jesusa Rodríguez: Mexico City's Postmodern/Permanent Revolutionary." Diss. U of Missouri - Columbia, 1998.

Larson, Catherine. Games and Play in the Theater of Spanish American Women. Lewisburg, PA: Bucknell U P, 2004.

Marín, Paola and Gastón Alzate. "Reinventando el cabaret: Entrevista con Jesusa Rodríguez." Gestos: Teoría y Práctica del Teatro Hispánico 14.28 (1999): 140-8.

Martínez de Olcoz, Nieves. "Decisiones de la máscara neutra: Dramaturgia femenina y fin de siglo en América Latina." Latin American Theatre Review 31.2 (1998): 5-16.

Martínez Tabares, Vivian. "Arquetipas: arte y política para reír y pensar." Cubarte 28 May 2004.

Newell, Deaneen M. "Women Staging Change: Dissimulation and Cultural Politics in Mexico." Diss. Indiana U, 2005.

Nigro, Kirsten F. "Un revuelto de la historia, la memoria y el género: Expresiones de la posmodernidad sobre las tablas mexicanas." Gestos: Teoría y Práctica del Teatro Hispánico 9.17 (1994): 29-41.

Paul, Carlos. "La falsa moral del mexicano, tema de 'El derecho de abortar'." La Jornada 3 Dic. 2003.
 

Rodríguez, Chantal. "Jesusa Rodríguez's Transgenics." e-misférica 6.1: Contagio (2009).

Rodríguez, Jesusa and Liliana Felipe. "No nos van a centavear (354): El himno de las trabajadoras sexuales (Lyrics by Jesusa Rodríguez, Music by Liliana Felipe)." Debate Feminista 15.30 (2004): 326-330.

Rodríguez, Jesusa, Liliana Felipe and Dmitri Dudin. "Los paraísos (Lyrics by Jesusa Rodríguez and Liliana Felipe, Music by Liliana Felipe and Dmitri Dudin)." Debate Feminista 15.29 (2004): 377-380.

Rodríguez, Jesusa. "The Conquest According to La Malinche." Holy Terrors: Latin American Women Perform. Ed. Taylor, Diana and Roselyn Costantino. Durham: Duke U P, 2003. 231.

---. "Excerpts from 'Genesis,' 'Barbie: The Revenge of the Devil,' and 'Censorship: The Bald Rat in the Garbage'." Holy Terrors: Latin American Women Perform. Ed. Taylor, Diana and Roselyn Costantino. Durham: Duke U P, 2003. 235.

---. "A Mi Madre (Includes a Poem by the Author)." Debate Feminista 15.30 (2004): 321-325.

---. "Nahuatlismo: The Aztec Acting Method." Holy Terrors: Latin American Women Perform. Ed. Taylor, Diana and Roselyn Costantino. Durham: Duke U P, 2003. 227.

---. "Sor Juana in Prison: A Virtual Pageant Play." Holy Terrors: Latin American Women Perform. Ed. Taylor, Diana and Roselyn Costantino. Durham: Duke U P, 2003. 211.

Taylor, Diana. "'High Aztec' Or Performing Anthro Pop: Jesusa Rodríguez and Liliana Felipe in Cielo de abajo." TDR: A Journal of Performance Studies 37.3 (1993): 142-52.