Borderlands Children's Theatre

Acknowledgements

Dedication

Foreword

Introduction






Performing Mestizaje: Memory, Body, and Land



A Note on the Structure of This Book

Chapter 1: An Overview of United States Children's Theatre and the Western Concept of Childhood








Understanding Children's Theatre in the United States



U.S. Children's Theatre/TYA and the Convergence of Latina/o Theatre for Young Audiences (LTYA)



Changing Cultural Conceptions of Children and Youth



Chapter 2: Historical Context of Borderlands Children's Theatre: An Overview of Traditional and Contemporary Chicana/o/Mexican-American Theatre Practices








Pre-Columbian and Mesoamerican Rituals, Celebrations, and Roles of Children



Southwest Hispanic Theatre 1821-1950 and Spanish-language theatre from the 1930s to the 1950s



Chicana/o Movement 1960-1979: Theatre, Education, and Political Mobilization



Emergence of Chicana/o Children's Theatre and Latina/o Theatre for Young Audiences, 1960 to the Present



Chapter 3: Theorizing a Border Crossing Subject/Self








Border Theory



Border Theory y Mujer Feminista



Border Theory and Theatre



Psycho/Social Theory: Ethnic Identity in the Borderlands



Chapter 4: An Application of Border Theories and Psycho/Social Theory: Analysis of Chicana/o Drama for Children and Youth



Alicia in Wonder Tierra (or I Can't Eat Goat Head): Quest for Mestiza Consciousness




Farolitos of Christmas: Generational Borders
The Highest Heaven: Beyond Borders
No saco nada de la escuela: Border Politics of Education
Simply Maria or The American Dream: Border-Crossing Dreamer
The Drop Out: Borderline At-Risk Student
The Border-Crossing Subject/Self and Ethnic Production





Chapter 5: Borderlands Theatrical Legacies: Antecedents and the Future








Writing for Chicana/o Children and Youth: Playwright's Reflections



Summary



Conclusion: Advocacy for the Millennium and Expressing New Trends for Chicana/o/Mexican-American Young Audiences



Bibliography

Index