Index
I n d e x 243 actors, 162, 175; bodies of, 20–22, 66; borders and, 132–33; campesino performers, 56; community and, 93; El Pachuco as, 68–69 actos, 9, 55–56, 74, 89, 180, 198 Acuña, Rodolfo, 91, 114 Agamben, Giorgio, 162, 200 agency, 9, 72, 162; of El Pachuco, 69– 72; sexuality and language, 183–84 agribusiness, 180–82, 187–88 Ailey, Alvin, 31 Algarín, Miguel, 29, 31–32 alienation, doubled, 101–2 allegory, 6 Althusser, Louis, 79–80 ambivalence and multiplicity, 21–23 Amour et la mémoire, L’ (Dalí), 173 Angels in America (Kushner), 150–52 Angulo, María-Elena, 149 Animating Democracy, 120 Anna in the Tropics (Cruz), 17–18, 174 anthropology, American, 4 Antush, John, 218n. 12 anxiety, melodrama as response to, 79–80 Anzaldúa, Gloria: Borderlands/La Frontera, 115, 214n. 26; This Bridge Called My Back (with Moraga), 178, 214n. 25 apocalyptic/millenarian visions, 150– 55 Arrizón, Alicia, 16 assimilation, 11, 14 audience, 8–9; authenticity and judgment of, 86, 90–91; borders and, 123–25; Chicano theater and, 55– 58; as community, 53, 198–200; critique of, 131–32; crossing into space of, 199–200; delinquency, production of, 45; direct references to, 73–74, 76; excess, model of, 57, 58; expectations, 73–74, 105, 109, 147; framing activity of, 69; gaze of, 8, 9, 138; as jury, 104–5; mainstream responses, 85; of melodrama, 78–79, 88; negotiation of ethnicity, 9–10; perceptibility of, 164; processes of interpretation, 77; reception practice and, 145–46; self-reflection of, 92; suspension of disbelief, 20–22, 218n. 12; theatrical formation and, 78, 220n. 3; wrighting representation and, 86, 90–92 authenticity: audience judgment and, 86, 90–91; of criminalized identity , 98–100; reductive categories, 147–48 Ayres reports, 74 Aztecs, 56, 70; El Pachuco as, 67–68 Aztlán (Chicano homeland), 57, 178, 214n. 29, 227n. 4 Babcock, Granger, 66 bandidos, 81–82, 86–87 index 244 Bandido! The American Melodrama of Tiburcio Vásquez Notorious California Bandit (Valdez), 77, 78–93, 104; critiques of, 86, 90–92; historical context, 80–81, 85–87, 91; Mark Taper production (1994), 88–89; multiple frames of, 79–80; stage directions , 82–83 Banks, Marcus, 4, 6 Barker, George Carpenter, 54, 59–61 Baver, Sherrie, 28 Bedoya, Alfonso, 102 Beers, George, 82 belonging, 200–201 Beltran, Robert, 109 Benjamin, Walter, 157, 163 Bigsby, C. W. E., 12 bilingual writing, 18, 42, 115, 167–68, 196–97 Black Revolutionary Theater, 58 body, 12; of actor, 20–22, 66; of audience , 58; border metaphor and, 115, 133–34; corporate culture equated with, 187–88; criminalization of, 36–37, 91, 188–89; different manifestations of, 179–80; discipline of, 6–7; fear of, 186–87; gay, 134; hybrid identity, 115; immigrant, policing of, 134; indigenous identity, 185–86; Mayan, 185; in melodrama, 84–85; as product of environment, 179–80; as site of resistance, 63, 188–91; transformation and, 187, 188–90; visual markers, 18, 24; visual representation of, 87 Bogart, Humphrey, 102 Border Brujo (Gomez-Peña), 119 borders, 113; actors and, 132–33; audience and, 123–25; biology, displacement of, 133–34; border agents, negotiating with, 132–40; border agents and comedy, 125–32; complexity of identity and, 123–24; ethnic identity as, 114–15; humor, use of, 123, 125–32; immigration legislation, 115–16, 126; legalistic policing of, 128–30; as militarized reality, 119, 126, 140–43; narrativity and, 139–40; performing, 119–22; protective displacement, 141; racial profiling, 125–26; real and metaphorical , 114–19, 124–25; sexuality and, 133–35; as transformational sites, 145–46; in urban spaces, 116– 17; wrighting, in 1990s, 122–25; wrighting of crossing, 140–46. See also immigration; U.S.-Mexican border border scholarship, 119, 126 Bordertown (Culture Clash), 125–27 Bracero program, 116 Brecht, Bertolt, 71 Breton, André, 168 Brooks, Peter, 79 Brown, Monica, 101, 222n. 57 Brown, Wendy, 157 Broyles-González, Yolanda, 70, 71–72, 82, 83–84, 221n. 35 Burch, Mike, 99 Burciaga, José Antonio, 81 Burns, Elizabeth, 8 Burt, Martha, 150, 226n. 13 Bush, George, 176–77 Bush, George W., 118 by, for, about, near, 10–12, 16, 17 California, wrighting, 177–78 California legal code, 87–88 Californios, 80–81 Camillo, Marvin Felix, 29, 30 campesino performers, 56 Campo Santo ensemble, 17 cancer clusters, 180–81 capitalism, 226n. 20; agribusiness, 180–82, 187–88; violence of, 155– 58, 187–88 carpa (tent show), 56 Carpentier, Alejo, 149 Carreta, La...
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