(Per)forming the Chicana Identity in Joséfina López’s Simply María, or The American Dream (1991), Confessions of Women from East L.A. (1996) and Real Women Have Curves (1997)

Abstract

This thesis discusses the identity formation and performance theory in Joséfina López’s plays Simply Maria, or the American Dream (1991), Confessions of Women from East L.A. (1996) and Real Women Have Curves (1997). It is divided into an introduction, four chapters, and a conclusion. Chapter one summarizes the theoretical framework employed in the thesis. Each of the three successive chapters discusses one of the plays and blends the thematic and technical approaches by using performance studies to highlight the formation of Chicana identity in the USA. Chapter two analyses Simply Marìa which highlights the character Marìa, a young girl trying to reconcile traditional Mexican values with those of the United States. Chapter three explores Confessions of Women from East L.A. which is about a group of women from East L.A. telling their stories and fighting for a life unmarred by social comparison with the American society. Chapter four discusses Real Women Have Curves, highlighting the lives of five working women and their challenge to establish an identity of their own. The three plays crystalize the journey of the marginalized Chicanas and their struggle to attain power and change their identities.