Presencia indigena en el teatro de México y Canadá: Una aproximación desde las humanidades públicas

This thesis is a comprehensive approach to the theatrical traditions of Mexico and Canada. Through a multidisciplinary analysis of plays, institutions and creators, this study involves theoretical notions such as phenomenological body, embodiment, spatiality and temporality, public sphere, agency, cultural appropriation, and resistance. Implementing a wide-ranging category of analyses like presence —defined as physical appearance and visibility of aboriginal peoples in the Americas— this work represents a novel interpretation of indigenous cultural production. At the same time, my research promotes a hemispheric dialogue between the Global North and South that has been seldomly and insufficiently explored in cultural terms. Focused on the human element and the physical body, theatre in the Americas has historically been legitimized as a synthesis between European traditions and millenary performing practices of the peoples that already inhabited the land upon the arrival of conquerors. Discursive confluences and performative potentialities define the impact of theatre as a mechanism of colonial domination, but also as a testament to the ethnic survival of indigenous populations in Mexico and Canada. During five centuries of documented practice, on the one hand, theatre reduces and supplants subaltern identities in an unbalanced economy of power; on the other, the stage becomes a counter-hegemonic place of enunciation that highlights the continuity of ancestral genealogies to the present day. Through body agency and physical features, indigenous presence in performance makes patent the aboriginal survival against the myth of racial evanescence and forced invisibilization of oppressed minorities under dominant codes. With this value of memory and archive, native theatre and presence not only certify an ancestral human existence in the Americas, but also aboriginal territorial and social rights. On top of that, the public nature of performing arts favours community mobilization at local and hemispheric levels, and involve consensuses on ideals of modernity, tradition and national imaginaries

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