Yourcenar, o cada quien su Marguerite.
Video documentation of 'Yourcenar, o Cada Quien su Marguerite, ' a 'sacred divertimento' based on French writer Marguerite Yourcenar's text 'Qui n'a pas son Minotaure', adapted and directed by Mexican theater and performance artist Jesusa Rodríguez. Inspired by the Greek myth of Theseus, Ariadne and the Minotaur, the play poses a philosophical reflection on the desires, repressions, dreams and sufferings of contemporary men and women. The triangle Ariadne-Theseus-Phaedra (performed by Paloma Woolrich, Juan Ibarra and Claudia Lobo respectively), brings to the forefront dramatic conflicts rooted in a series of dualities: sensual/spiritual, constructive/destructive, idealist/pragmatic, male/female, to attack/to wait. The performance, full of poetic images, choreographic gestures, and mythic symbolism, renders the Minotaur a metaphor of these conflicts (the 'inner monsters' of humanity): each one of us, contemporary people, confronts our own inner Minotaur. 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. Rodriguez's 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 (www.elhabito.com.mx) 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. Hemispheric Institute of Performance and Politics