Eva Cristina Vásquez - Pregones Theatre: A Theatre for Social Change in the South Bronx

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LATINO
COMMUNITIES
EMERGING VOICES
POLITICAL, SOCIAL, CULTURAL, AND LEGAL ISSUES

Edited by
ANTOINETTE SEDILLO LOPEZ
UNIVERSITY OF NEW MEXICO

A ROUTLEDGE SERIES

LATINO COMMUNITIES: EMERGING VOICES

Antoinette Sedillo Lopez, General Editor

CHICANO PROFESSIONALS
Culture, Conflict, and Identity
Tamis Hoover Renteria

RESISTING GENTRIFICATION AND DISPLACEMENT
Voices of Puerto Rican Women of the Barrio
Vicky Muniz

CHICANO EMPOWERMENT AND BILINGUAL EDUCATION
Movimiento Politics in Crystal City, Texas
Armando L. Trujillo

CREATING A LATINO IDENTITY IN THE NATION'S CAPITAL
The Latino Festival
Olivia Cadaval

THE DEVELOPMENT OF A LATINO GAY IDENTITY
Bernardo C. Garcia

LATINO FICTION AND THE MODERNIST IMAGINATION
Literature of the Borderlands
John S. Christie

VOICES OF GUATEMALAN WOMEN IN LOS ANGELES
Understanding Their Immigration
Gabrielle Kohpahl

SPANISH AND ACADEMIC ACHIEVEMENT AMONG MIDWEST MEXICAN YOUTH
The Myth of the Barrier
Patricia MacGregor Mendoza

CHICANO EDUCATIONAL ACHIEVEMENT
Comparing Escuela Tlatelolco, A Chicanocentric School and a Public High School
Elena Aragon de McKissack

LATINOS AND LOCAL REPRESENTATION
Changing Realities, Emerging Theories
Florence Adams

PUERTO RICAN NEWSPAPER COVERAGE OF THE PUERTO RICAN INDEPENDENCE PARTY
A Content Analysis of Three Elections
Maria Cristina Santana

COLEGIO CESAR CHAVEZ, 1973-1983
A Chicano Struggle for Educational Self-Determination
Carlos S. Maldonado

LATINOS IN ETHNIC ENCLAVES
Immigrant Workers and the Competition for Jobs
Stephanie Bohon

TELLING OUR STORIES
The Lives of Midwestern Latinas
Theresa Barron McKeagney

DOMINICANS IN NEW YORK CITY
Power From the Margins
Milagros Ricourt

LATINO NATIONAL POLITICAL COALITIONS
Struggles and Challenges
David Rodriguez

CREATING TROPICAL YANKEES
Social Science Textbooks and U.S. Ideological Control in Puerto Rico, 1898-1908
Jose-Manuel Navarro

BROWN EYES ON THE WEB
Unique Perspectives of an Alternative U.S. Latino Online Newspaper
Maggie Rivas-Rodriguez

PREGONES THEATRE

A Theatre for Social Change in the South Bronx

Eva C. Vsquez

Published in 2003 by

Routledge

Published in Great Britain by
Routledge

Published 2014

by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
711 Third Avenue, New York, NY 10017 USA

Routledge is an imprint of the Taylor & Francis Group, an informa business

ISBN: 978-1-315-81086-7 (eISBN)

Copyright 2003 by Taylor & Francis

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without written permission from the publishers.

10 9 8 7 6 5 4 3 2

Library of Congress Cataloging-in-Publication Data
Vsquez, Eva C., 1966
Pregones Theatre: a theatre for social change in the South Bronx / by Eva C. Vasquez.
p. cm. (Latino communities)
ISBN 0-415-94675-1 (Hardcover: alk. paper)
1. Pregones Theatre (New York, N.Y.) 2. Hispanic American theatre New York (State)
New York History 20th century. 3. Hispanic American theatre United States
History 20th century. I. Title. II. Series.
PN2297.P67V37 2003
812'.509868dc21

For my mother Mara Cristina Snchez and my Grandparents Julia Rivera and Jess ngel Snchez, without whose example, love, dedication and support I would have never gotten this far.

Contents

Although this project felt many times like a solo performance, there is no such thing as solo when writing a book. This work would not have been possible without the love, encouragement, support and patience of a large number of people who have accompanied me during the many phases of my long journey. First of all, I would like to thank my friends and theatre colleagues of Teatro Pregones for welcoming me in what was my first theatrical home in New York, and for their cooperation and enthusiasm in helping me research and document the first years of their ongoing history. Rosalba Roln, Alvan Coln-Lespier, Jorge Merced, Judith Rivera, and Magaly Gonzlez, un milln de gracias!

I am in infinite debt to Dr. Gloria Waldman, director of my project, for helping me complete this work and for her constant encouragement, emotional support, and useful language corrections. Thank you for not letting me give up, for welcoming me in your home, for thinking about me all this time, for supporting my acting career and for caring.

I am grateful to the members of my dissertation committee, Dr. Marvin Carlson and Dr. Miriam D'Aponte for their support, insight, thoughtful suggestions and infinite patience. I especially thank Dr. D'Aponte whose Theater of Color course inspired me to make the voice of my Puerto Rican people be heard within its huge variety of native accents.

Speaking of accents, I would also like to thank Rick Armstrong, Jody Rosen and Consuelo Corretjer who helped me with language skills when English words failed me. And especially I want to thank Marly Rivera for editing the final version of this work.

During all the years that I worked on this project I was fortunate to share my ideas and experiences with people who helped me keep my sense of humor and my sanity, while contributing with any piece of information that would make my work easier. Thank you Wanda Arriaga, Pablo Cabrera, Luis Caballero, Tata Cauelas, Lourdes Centeno, Roberto Gorbea, Luis Felipe Melndez, Jorge Monteagudo, Jos Cheo Oliveras, Yeidy Rivero, Idalia Prez-Garay, and Soledad Romero. I would also like to thank Hale Gurland for his support, constructive criticism, and technological help.

Last, but not least, I am grateful to the members ot my family: my brothers Carlos Vsquez and Gilberto Vsquez, my father Gilberto Vsquez, my uncle Jess A. Snchez (To Junior), my aunt Gloria Esther Snchez (Titi Gloria), and very specially to my grandparents Julia Rivera and Jess A. Snchez for being the best grandparents ever. To them and to my mother Mara Cristina Snchez I owe all of my strength, my spirit and this work. Los adoro, Bendicin!

CHAPTER 1
Introduction

The purpose of this chapter is to present the overall sociological background of Puerto Rico, and discuss its effects on the Puerto Rican people and consequently on the creation and development of Puerto Rican theatre. The analysis presented simplifies the effects of colonialism and does not intend to be an in depth examination of the Puerto Rican social, political and cultural realities. Such an analysis would require a much broader exposition of facts evaluated in ways that go beyond the interest of this particular study. Nevertheless, we will attempt to summarize the principal aspects of the Puerto Rican socio-economic background that have made a significant contribution to the development of political theatre groups, both on the island and on the U.S. mainland.

Puerto Rico is a tropical island in the Caribbean Sea, 100 miles long by 35 miles wide, with a population of approximately four million people. When Spaniards came to the island in 1493, they found it inhabited by Araucan Indians. At first, the Indians believed that the newcomers were immortal gods. It was not until they witnessed proof of the Spaniards's mortality that they began to fight against their colonization endeavors. However, in a period of about two hundred years, the Indian population was decimated by war, slavery and the highly contageous diseases brought to the island by the colonizers. As a repercussion of slavery, black slaves from Africa were introduced into the country. On account of the short period of co-existence among the three races and ample interracial coupling, Puerto Ricans became an ethnically mixed population.

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