Masquerades of Gender in Nicaraguan Theater

Martin 89 Randy Martin Masquerades of Gender in Nicaraguan Theater The sun sketches shadows on the cement floor that is only partially covered by a ceiling of thatched bamboo. The sides of this theater cabana open to a dense tropical greenery that climbs steeply up the surrounding hills. A drum beats a saddened march as an unlikely procession spills into this arena. At its head, a gold helmeted conquistador, resplendent in purple and green velvet and rendered faceless by a mask of white gauze, marshals those who follow. A wooden cart is borne by a finely muscled man, shirtless, and masked in the same way as his superior. A woman, dressed in white, is splayed along its planks. From between the bearer's legs, an immense bamboo pole extends over the woman. A rope trails from behind the cart to link two figures in bondage. One, a lean boy with brightly painted red lips and the other, a matronly fruit seller. The procession is closed by another conquistador who drags a long whip of coarse hemp, as limp at rest as the bamboo is stiff. As the faceless men depart, the two in bondage remain and the woman on the cart rises and welcomes those gathered to the market place where travelers meet, wares are sold and stories exchanged. She entreats the public to listen to the tales of the three characters who appear so different yet whose stories belie a value that is essentially the same. The boy with the red lips offers his first. He is a student in high school who spends his hours at home assisting his mother in domestic work. This includes serving his father and older brother who mock him as he waits on them. The father becomes increasingly agitated and complains about the food. He kicks the few items of furniture around the house and then turns on his wife before moving toward the door. She asks him where he is going and he only grunts in reply. The younger son asks for some money to buy books for school and his father snorts, "I'm not going to give a son like this any of my money." The mother implores as the father leaves. The next scene sees two libidinous young males casting about the backways of the market place. They spy some large empty baskets, and jump inside them to masturbate. While they rattle in the baskets, two other teens pass by. One gives the other a condom. The gift getter assumes that he has been given a balloon until told that it has a different purpose which has already been fulfilled. The condom goes limp and the boy gags. The two then notice the oddly animate baskets and remove the covers to interrupt the now shame-faced inhabitants. Their own shame of discovery is interrupted by the entrance of the red-lipped boy, and the four are unified through this new 90 the minnesota review found object of harassment. After some cajoling, they force the red-lipped boy to lead an elephant walk—an awkward parade with baskets on their bent backs and arms connected beneath their crotches. The unwitting leader breaks away and begins to cry. He is pursued by a chorus who stampt and chant in unison, "Men don't cry." When the abused youth returns home, he finds only his father. He is asked whether he had gotten his books and he replies "no." The father regards him and lays some money on the table and beckons his son to take it. The son approaches cautiously and bends over to pick up the few scattered coins on the table. His father seizes him from behind and rapes him. Just then the mother arrives home. Her husband withdraws abruptly from their son. Without looking at her, he shrugs and mumbles that her son had just gotten his money. She runs out pursued by her husband and as the red-lipped boy strains to his feet, the conquistador enters with the woman who had been on the cart. She turns to the youth and says that she must tell her story, he bids her good luck and leaves. The...