The Hungry Woman Search streaming video, audio, and text content for academic, public, and K-12 institutions. Alexander Street is an imprint of ProQuest that promotes teaching, research, and learning across music, counseling, history, anthropology, drama, film, and more. PDF Catalog Page Change in Degree. The Hungry Woman: A Mexican Medea by Cherrie Moraga. The Hungry Woman: A Mexican Medea by Cherrie Moraga. Electricidad by Luis Alfaro (I will provide a pdf of this. After her college years, Moraga openly accepted her lesbianism, after hiding it from others. For a long time, she used her Anglo looks to her.
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Cherríe L. Moraga is playwright, poet, and essayist whose plays and publications have received national recognition, including a TCG Theatre Artist Residency Grant in 1996, the NEA’s Theatre Playwrights’ Fellowship in 1993, and two Fund for New American Plays Awards. In 2007, she was awarded the United States Artist Rockefeller Fellowship for Literature; in 2008, a Creative Work Fund Award, and in 2009, a Gerbode-Hewlett Foundation Grant for Playwiting.
Creative Non-fiction/Poetry/Essays . . .
Moraga is the co-editor of This Bridge Called My Back: Writings by Radical Women of Color, which won the Before Columbus American Book Award in 1986. She is the author of the now classic Loving in the War Years: Lo Que Nunca Pasó Por Sus Labios (1983/2003) andThe Last Generation (1993), published by South End Press of Cambridge, MA. In 1997, she published a memoir on motherhood entitled Waiting in the Wings (Firebrand Books) and is completing a memoir on the subject of Mexican American cultural amnesia entitled Send Them Flying Home: A Geography of Remembrance. This year Moraga also completed a new collection of writings — A Xicana Codex of Changing Consciousness: Writings 2000-2010, published by Duke University Press in 2011.
Plays/Theater
Moraga has also published three volumes of drama through West End Press of Albuquerque, NM. They include: Heroes and Saints and Other Plays (1994),Watsonville/Circle in the Dirt (2002), and The Hungry Woman (2001). In 2010, WEP will publish a volume of Moraga’s children’s plays, entitled Warriors of the Spirit. A San Francisco Bay Area playwright, Moraga has premiered her work at Theatre Artaud, Theatre Rhinoceros, the Eureka Theatre, and Brava Theater Center. Brava’s production of “Heroes and Saints” in 1992 received numerous awards for best original script, including the Drama-logue and Critic Circles Awards and the Pen West Award. Her plays have been presented throughout the Southwest, as well as in Chicago, Seattle and New York. In 1995, “Heart of the Earth,” Moraga’s adaptation of the Popol Vuh, the Maya creation myth, opened at the Public Theatre and INTAR Theatre in New York City.
In 2005, “The Hungry Woman: A Mexican Medea” opened at The Pigott Theater at Stanford University, directed by Moraga and Adelina Anthony. In the years following, Moraga developed several new works, including: “Mathematics of Love,” “Digging Up the Dirt” and “La Semilla Caminante/The Traveling Seed.” “Semilla,” conceived and designed in collaboration with Alleluia Panis and Celia Herrera Rodriguez, opened in a workshop production with Campo Santo Theater of San Francisco on April 23-25, 2010. On July 30, 2010, Moraga’s “Digging Up the Dirt” opened to a sold-out audience five-week run at Breath of Fire Latina Theater in Orange County, CA, in a co-production with See-what (Cihuat) Productions. Her most recent play, New Fire — “To Put Things Right Again” was produced by cihuatl productions and Brava Theater in San Francisco in January 2011. A collaboration with Celia Herrera Rodriguez and the winner of the Gerbode-Hewlett Foundations Playwright’s Award, the play was witnessed by over 3,000 people over its 12-day run.
Day Job
For over ten years, Moraga has served as an Artist in Residence in the Department of Drama at Stanford University and currently also shares a joint appointment with Comparative Studies in Race & Ethnicity. She teaches Creative Writing, Xicana-Indigenous Performance, Latino/Queer Performance, Indigenous Identity in Diaspora in the Arts and Playwriting. She is proud to be a founding member of La Red Xicana Indígena, a network of Xicanas organizing in the area of social change through international exchange, indigenous political education, spiritual practice, and grass roots organizing.
Cherrie Moraga Interview
Cherríe Moraga comes from a Latino background, her mother being half-Mexican and her father being American. Growing up as Chicana, a Mexican and American woman, she personally struggled with being able to her mixed identity. Her search to find her queer identity, the Chicano Movement, racial ethnicity discrimination, and her feministic approach shaped the culture she portrays her in her play, The Hungry Woman.
The Hungry Woman Cherrie Moraga Pdf Free Online
The play takes place in the post-apocalyptic Aztlan. The Aztec people were historically known to have resided in this area being between the American and Mexican border, being home to several different tribes among its inhabitants that were racially segregated. In the Hungry Woman, Medea was exiled for her bisexual identity and was forced to move to the borderlands when she leaves her husband for another woman. Luna, Medea’s lover, builds a strong relationship with Chac-Mool, giving him insight on all aspects of Hispanic culture. Due to Jason’s high standing importance in Aztlan, he wanted to divorce Medea, remarry, and to bring Chac-Mool back to Aztlan, away from his bisexual mother. Medea’s requested divorce from Jason and her exile from her homeland, Aztlan, affects her emotional stability and her relationship with Luna that goes against social norms. The two women in the play, Medea and Luna, show their struggle to live in the world being homosexual.
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Poems By Cherrie Moraga
Homosexuality was not accepted, making live the horrors of suppressed and isolation by society. Medea feels the rejection while Luna tries to comfort her and give her rational advice in accepting who she is. Moraga depicts the power that white men had in society in her writing based on her background in the 1960s and 1970s, a time of political and civil crisis especially affecting the lack of civil rights granted to women. Medea has informed her son of the many injustices that men, especially his father, have imparted on woman in society. She strives to make sure her son will not turn into a man like Jason. In accordance to Euripides’ Greek tragedy, Medea, Moraga’s Medea kills her son to preserve his purity from male intervention and prevent him from betraying the morals she has taught him about patriarchy. Consequently, she gets sent to the asylum for her murderous action where her son’s ghost grants her with security.