Jacqueline Eyring Bixler
Biographic Data
| ID | 3597730 |
|---|---|
| NAME | Jacqueline Eyring Bixler |
| GIVEN NAMES | Jacqueline Eyring |
| FAMILY NAME | Bixler |
| SIGNATURE | BIXLER J E |
| AFFILIATIONS | Virginia Tech |
| ORCID | 0000-0001-9292-8161 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 15 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1984 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
From Tartarus
I don’t feel the weight of my body.I don’t feel the earth pulling my body downward.Where am I?Where was I?It was here, in this place, but where?I feel like it was here.Hit the ground!A whirring wav
Staging the Self
Extraordinary Events
Performance in the Zócalo
Reviewed by: Performance in the Zócalo: Constructing History, Race, and Identity in Mexico's Central Square from the Colonial Era to the Present by Ana Martínez Jacqueline E. Bixler PERFORMANCE IN THE ZÓCALO: CONSTRUCTING HISTORY, RACE, AND IDENTITY IN MEXICO'S CENTRAL SQUARE FROM THE COLONIAL ERA TO THE PRESENT. By Ana Martínez. Ann Arbor: University of Michigan Press, 2020; pp. 232. Those who have marveled at the expanse and grandeur of Mexico'…
From Kerry to Chiconcuac
This article focuses on the Mexican play, eXtras, Sabina Berman's translation and adaptation of the Irish hit play Stones in His Pockets by Marie Jones. Linda Hutcheon, Thomas Leitch, and other contributors to adaptation studies shed light on the process used by Berman to tradapt and glocalize Stones in His Pockets for the Mexican stage, where the combined forces of Hollywood and globalization have likewise ravaged the local economy and where Jon…
Asignatura pendiente
El 2 de octubre de 2018 marcó la quincuagésima conmemoración de la masacre del aún desconocido número de estudiantes, transeúntes y otros inocentes en la Plaza de las Tres Culturas de Tlatelolco. Como siempre, el programa cultural del Memorial 68 incluyó varias producciones teatrales, pero esta vez llamó la atención el uso casi exclusivo de la farsa como modo de expresión dramática. La farsa tiende a ser burlona, irreverente y alejada de la reali…
Performing Tlatelolco and the Past That Never Dies
The 50th commemoration of the 2 October 1968 massacre of students and bystanders in the Plaza de Tlatelolco included performances that forced spectators to confront the nagging legacy of 1968 and to think collectively about what a future Mexico could look like if nothing is done to change the course of its history. Auxilio: Au secours by TeatroSinParedes and El pasado nunca se muere by Lagartijas Tiradas al Sol share a mix of genres, a tripartite…
Performing Culture(s)
For almost thirty years, Mexican dramatist Sabina Berman has been writing and producing plays that question and often ridicule notions of gender, political credibility, historical authority, and cultural identity. Her latest play, eXtras (2003), is not a Berman original, but rather a translation and adaptation of Marie Jones's highly acclaimed Stones in His Pockets. The bold, capital "X" and multiple connotations of the title are but the external…
Re-Membering the Past
This study discusses the responses of Mexican intellectuals to the 1968 massacre in the Plaza de Tlatelolco. Several published studies and anthologies have covered the poetry, narrative, and essays written on the subject, but no such consideration has been given to the theatrical works written and staged since 1968. Jeanette Malkin's theory on memory-theatre, Pierre Nora's “lieux de mémoire,” and Michel Foucault's concept of countermemories all s…
The Leper in Blue. Coercive Performance and the Contemporary Latin American Theater
The Leper in Blue: Coercive and the Contemporary Latin American Theater. By Amalia Gladhart. Chapel Hill: North Carolina Studies in Romance Languages and Literatures, 2000. 245 pages.Once the least studied branch of Latin American literature, theater has gradually been sparking increased interest since the mid 1970s. In fact, in recent years we have witnessed a notable surge in book-length contributions to the field, not the least of which is Gla…
Convention and Transgression
Convention and Transgression. The Theatre of Emilio Carballido
Carballido's "Acapulco, los lunes" and the Darker Side of Comedy
Vargas Llosa's Kathie y el hipopotamo
Although Mario Vargas Llosa is generally considered a newcomer to stage, his first written work, at age of 16, was in fact a drama titled La huida del Inca. Now, after three decades and twice that many novels, he has returned to medium of stage, first with enormously successful La senorita de Tacna (1981) and then with Kathie y el hipop6tamo (1983), which has received relatively scant critical attention.' Given that Vargas Llosa is first and fore…
Self-Conscious Narrative and Metatheater in Un hombre que se parecia a Orestes
N 1968, Alvaro Cunqueiro's Un hombre que se parecia a Orestes won the Nadal prize for best Spanish novel of that year. Since then, the work has received very little critical attention. One critic, Michael Thomas, suspects that others have largely ignored Orestes because it is not explicitly engage.' In the same vein, Jose Domingo insinuates that Orestes is frivolous and thus devoid of any serious purpose when he employs the verbs embelesar, embau…
Performing Culture(s)
For almost thirty years, Mexican dramatist Sabina Berman has been writing and producing plays that question and often ridicule notions of gender, political credibility, historical authority, and cultural identity. Her latest play, eXtras (2003), is not a Berman original, but rather a translation and adaptation of Marie Jones's highly acclaimed Stones in His Pockets. The bold, capital "X" and multiple connotations of the title are but the external…
Self-Conscious Narrative and Metatheater in Un hombre que se parecia a Orestes
N 1968, Alvaro Cunqueiro's Un hombre que se parecia a Orestes won the Nadal prize for best Spanish novel of that year. Since then, the work has received very little critical attention. One critic, Michael Thomas, suspects that others have largely ignored Orestes because it is not explicitly engage.' In the same vein, Jose Domingo insinuates that Orestes is frivolous and thus devoid of any serious purpose when he employs the verbs embelesar, embau…
Vargas Llosa's Kathie y el hipopotamo
Although Mario Vargas Llosa is generally considered a newcomer to stage, his first written work, at age of 16, was in fact a drama titled La huida del Inca. Now, after three decades and twice that many novels, he has returned to medium of stage, first with enormously successful La senorita de Tacna (1981) and then with Kathie y el hipop6tamo (1983), which has received relatively scant critical attention.' Given that Vargas Llosa is first and fore…
Carballido's "Acapulco, los lunes" and the Darker Side of Comedy
Convention and Transgression
Convention and Transgression. The Theatre of Emilio Carballido
The Leper in Blue. Coercive Performance and the Contemporary Latin American Theater
The Leper in Blue: Coercive and the Contemporary Latin American Theater. By Amalia Gladhart. Chapel Hill: North Carolina Studies in Romance Languages and Literatures, 2000. 245 pages.Once the least studied branch of Latin American literature, theater has gradually been sparking increased interest since the mid 1970s. In fact, in recent years we have witnessed a notable surge in book-length contributions to the field, not the least of which is Gla…
Re-Membering the Past
This study discusses the responses of Mexican intellectuals to the 1968 massacre in the Plaza de Tlatelolco. Several published studies and anthologies have covered the poetry, narrative, and essays written on the subject, but no such consideration has been given to the theatrical works written and staged since 1968. Jeanette Malkin's theory on memory-theatre, Pierre Nora's “lieux de mémoire,” and Michel Foucault's concept of countermemories all s…
Performing Culture(s)
For almost thirty years, Mexican dramatist Sabina Berman has been writing and producing plays that question and often ridicule notions of gender, political credibility, historical authority, and cultural identity. Her latest play, eXtras (2003), is not a Berman original, but rather a translation and adaptation of Marie Jones's highly acclaimed Stones in His Pockets. The bold, capital "X" and multiple connotations of the title are but the external…
From Kerry to Chiconcuac
This article focuses on the Mexican play, eXtras, Sabina Berman's translation and adaptation of the Irish hit play Stones in His Pockets by Marie Jones. Linda Hutcheon, Thomas Leitch, and other contributors to adaptation studies shed light on the process used by Berman to tradapt and glocalize Stones in His Pockets for the Mexican stage, where the combined forces of Hollywood and globalization have likewise ravaged the local economy and where Jon…
Asignatura pendiente
El 2 de octubre de 2018 marcó la quincuagésima conmemoración de la masacre del aún desconocido número de estudiantes, transeúntes y otros inocentes en la Plaza de las Tres Culturas de Tlatelolco. Como siempre, el programa cultural del Memorial 68 incluyó varias producciones teatrales, pero esta vez llamó la atención el uso casi exclusivo de la farsa como modo de expresión dramática. La farsa tiende a ser burlona, irreverente y alejada de la reali…
Performing Tlatelolco and the Past That Never Dies
The 50th commemoration of the 2 October 1968 massacre of students and bystanders in the Plaza de Tlatelolco included performances that forced spectators to confront the nagging legacy of 1968 and to think collectively about what a future Mexico could look like if nothing is done to change the course of its history. Auxilio: Au secours by TeatroSinParedes and El pasado nunca se muere by Lagartijas Tiradas al Sol share a mix of genres, a tripartite…
Staging the Self
Extraordinary Events
Performance in the Zócalo
Reviewed by: Performance in the Zócalo: Constructing History, Race, and Identity in Mexico's Central Square from the Colonial Era to the Present by Ana Martínez Jacqueline E. Bixler PERFORMANCE IN THE ZÓCALO: CONSTRUCTING HISTORY, RACE, AND IDENTITY IN MEXICO'S CENTRAL SQUARE FROM THE COLONIAL ERA TO THE PRESENT. By Ana Martínez. Ann Arbor: University of Michigan Press, 2020; pp. 232. Those who have marveled at the expanse and grandeur of Mexico'…
From Tartarus
I don’t feel the weight of my body.I don’t feel the earth pulling my body downward.Where am I?Where was I?It was here, in this place, but where?I feel like it was here.Hit the ground!A whirring wav
Art (13 works) · History (7 works) · Literature (6 works) · Law (5 works) · Political science (5 works) · Art history (4 works) · Latin American and Latino Studies (4 works) · Psychology (4 works) · Spanish Literature and Culture Studies (4 works) · Aesthetics (3 works)