In the Arena
In the Arena, grew intuitively by intersecting physical play with scripted dialogue. The performers, myself included, were reminded to make a scene; to register a credible emotion, while highlighting the ambiguity of gesture and spoken word, once taken out of context.
These works should only be perceived as fragments of a larger whole, where still photographs, texts and motion pictures situate a romantic relationship. In the process, the enamorates negotiate distance and separation as well as reunion and relearned communication.
Casting was the initial decision, provoked by an American perception of ethnic ambiguity, the characters suggest a Latin emotion. Admittingly then, this narrative and the motivations to depict it, stem from personal encounters with racial misidentification; often I am not the Mexican, people expect to recognize. In being perceived as another, I take liberty to embrace my actual life as an improvised fiction.
Casting choices often depict non–Mexicans in these Mexican roles, articulating my own predilection for ethnic ambiguity, while rebutting the original remark – “What does a Mexican look like?”