Series I. Theater, 1977-2024, bulk 1983-2009, inclusive; 1983-2009, bulk
Language of Materials
Extent
Extent
Scope and Contents
This series includes materials documenting productions, performance spaces, fellowship materials, festivals, Liliana Felipe's work, and collaborations between Jesusa and Liliana. Some major productions that are documented are Donna Giovanni and El Concilio de Amor, and additional works, such as Ambrosio o La Fábula del Mal Amor, Las Horas de Belén, and Così Fan Tutte. A large portion of the collection, particularly productions staged between 1980-1994, consists of scrapbook binders containing press clippings, photographic prints, contact sheets, negatives, theater programs, promotional materials, and other ephemera. Some of thes binders originally labeled "misc." contain a variety of productions, including Coatlicue, and one of her earlier productions, Arde Pinocho, the latter of which she worked as a set and costume designer for director Julio Castillo. Other materials documenting Jesusa Rodríguez's theatrical productions include a curtain backdrop for Donna Giovanni, correspondence, magazines, newspapers, scripts and notes, drafts of lyrics, sheet music, articles, printed images, photographs, flyer layouts, brochures, financial documents, promotional mailers, fellowship proposals and applications, festival programs, certificates, identification cards, invitations, scene sketches and other drawings, a couple painted illustrations, set designs and blueprints, a calendar, and optical discs containing audio, video, and data (photographs). This series also includes digital photographs taken by New York University Libraries staff of the costume of Coatlicue prior to its physical acquisition.
Arrangement
Productions have been grouped together and arranged in chronological order. Following this are groupings of materials related to Jesusa and Liliana's performance spaces, fellowship materials, festivals, Liliana Felipe, collaborations between Jesusa and Liliana, and miscellaneous productions, also arranged in chronological order.
Don Giovanni, 1985-1987, inclusive
Don Giovanni 1 (1 of 2), 1984-1985, inclusive
Don Giovanni 1 (2 of 2), 1984, inclusive
Don Giovanni 2 (1 of 2), 1983-1986, inclusive
Don Giovanni 2 (2 of 2), 1983-1984, inclusive
Donna Giovanni 3 (1 of 2), 1985, inclusive
Donna Giovanni 3 (2 of 2), 1985, inclusive
Donna Giovanni 4 (1 of 2), 1986-1987, inclusive
Donna Giovanni 4 (2 of 2), 1987, inclusive
Miscellaneous Donna Giovanni 1 (1 of 2), 1984-1986, inclusive
Miscellaneous Donna Giovanni 1 (2 of 2), 1980-1988, inclusive
Miscellaneous Donna Giovanni 2 (1 of 2), 1984-1987, inclusive
Miscellaneous Donna Giovanni 2 (2 of 2), 1985-1995, inclusive
Donna Giovanni, Borrowing Puppets, 1994, inclusive
Ambrosio o La Fábula del Mal Amor (1 of 2), 1986-1990, inclusive
Ambrosio o La Fábula del Mal Amor (2 of 2), 1986-1990, inclusive
El Concilio de Amor, circa 1987, inclusive
El Concilio de Amor, 1988-1989, inclusive
El Concilio de Amor, 1989, 1995, inclusive
El Concilio de Amor (1 of 2), 1988-1989, inclusive
El Concilio de Amor (2 of 2), 1994-1995, inclusive
El Concilio de Amor, 1995, inclusive
El Concilio de Amor, 1995, inclusive
El Concilio de Amor, 1987 and 1995 Adaptations with Alternative Endings, circa 1995, inclusive
El Concilio de Amor, 1988, 1995, inclusive
Miscellaneous El Concilio de Amor, 1995, inclusive
Cielo de Abajo (1 of 3), 1992-1996, inclusive
Cielo de Abajo (2 of 3), 1992-1994, inclusive
Cielo de Abajo (3 of 3), 1994-1995, inclusive
Short Skits for Cabaret, 1985-1987, inclusive
Atracciones Fénix, 1986, 1999, inclusive
Berlin en Luz, circa 1990s, inclusive
Performance Celebrating Teresa and Ana María Pecanins, 1994-1995, inclusive
Salinas Skits (1 of 2), 1994-1996, inclusive
Salinas Skits (2 of 2), 1995-1996, inclusive
Guru Barbie and Luminarias de la Sombra, circa 1995-2005, inclusive
Così Fan Tutte, circa 1996, inclusive
Las Horas de Belén, 1999-2000, inclusive
Macbeth, 2002, inclusive
Pastorela Extraterrestre, 2002, inclusive
Paper
Electronic Records
Digital materials
Enemigos de Fox, 2003, inclusive
Cabaret Prehispánico, 2004, inclusive
Paper
Electronic Records
Digital materials
Noches de Bohemia, 2005, inclusive
Los Burrones, 2005-2006, inclusive
Paper
Electronic Records
Digital materials
Aniversario de Benito Juárez en Coyoacán, 2006, inclusive
Noches Árabes al Pastor, 2006-2007, inclusive
Noches Árabes al Pastor, 2007, inclusive
El libro de sexo gratuito, 2008-2009, inclusive
Diálogos entre Darwin y Dios, 2008-2009, inclusive
Presentación del libro, "La Ciencia como Calamidad" de Marcelino Sereigido en Guadalajara, circa 2009, inclusive
Sor Juana en Almoloya and Primero Sueño de Sor Juana Inés de La Cruz, 2009-2011, inclusive
Guggenheim Fellowship, 1990-1997 (bulk 1990-1991), inclusive
Rockefeller Foundation Proposal, 1993-1996, inclusive
Hemispheric Institute of Performance and Politics, Encuentros, 2001-2005, inclusive
Festival Iberoamericano de Teatro de Bogotá, 2006, inclusive
I.D.s, 1978, 1982, 2004, inclusive
Jesusa y Liliana, 1994, 2006-2007, inclusive
Liliana (1 of 2), 1980-2010 (bulk 2001-2010), inclusive
Liliana (2 of 2), 2002-2005, inclusive
Multiple Productions (1 of 3), 1977-1981, inclusive
Multiple Productions (2 of 3), 1982-1983, inclusive
Multiple Productions (3 of 3), 1981-1983, inclusive
Multiple Productions (1 of 2), 1983-1986, inclusive
Multiple Productions (2 of 2), 1986-1989, inclusive
Multiple Productions (1 of 2), 1997-2001, inclusive
Multiple Productions (2 of 2), 1995-2001, inclusive
Multiple Productions, circa 1985-1995, 2001, inclusive
Multiple Productions (1 of 3), 1988, inclusive
Multiple Productions (2 of 3), 1989-1990, inclusive
Multiple Productions (3 of 3), 1990, inclusive
Multiple Productions (1 of 2), 2001-2004, inclusive
Multiple Productions (2 of 2), 2002, inclusive
Miscellaneous Texts, 1994-2002, inclusive
El Fracaso (1 of 2), 1983, inclusive
El Fracaso (2 of 2), 1984, inclusive
Coatlicue, circa 1990-2024, inclusive
Scope and Contents
Coatlicue is a costume representative of the Aztec diety embodied by Jesusa Rodríguez, primarily in the performance piece "La gira mamal de la Coatlicue." Through her performance, Rodríguez transforms the statue of the goddess located at the Museum of Anthropology in Mexico City into a living entity. Rodríguez describes the performance as "pre-Hispanic cabaret," and through her embodiment of an Indigenous female entity parodies the attitudes of many Mexican politicians regarding challenges facing the country.
Physical Characteristics and Technical Requirements
Coatlicue is not to be a subject of interaction or engagement by researchers in reading rooms or classroom spaces. Photographs and videos of Coatlicue taken by NYU are to be available for study, research, and limited public exhibition.