Emotional Analysis: Julie Tolentino And Luciana Achugar

1558 Words7 Pages
A thin veil of feigned superiority shields the few from the deep expanse of chaos that surrounds them, but even the slightest tear can change everything. As ignorance and systematic immunity thickens the barriers of oppression, the NOT Festival and other similar movements serve as whetstones that sharpen the bodies of performers and enables them to cut through the cloth that has tossed them aside. Focusing on specific performances from the event, both Julie Tolentino and Luciana Achugar are exemplary models of this metaphysical weaponry. They both come from the Latin American / Hispanic community, so their stories echo the same painful sentiment, though their journeys are different. While Tolentino performs to convey the queer struggle and…show more content…
As the audience entered the room, which was lit with a faint tint of red, we were seated in chairs that were organized around the perimeter of the set, except for one side, where stage curtains were. In the center was a mic stand, and in the front right corner of the room was an emergency exit. There, a woman in a long-haired wig and a baggy shirt attempted to open the door and reach the bright red light in the next room, but some invisible force kept her from doing so. After many tries, she gave up. However, she finds her own way out. In the last act of her performance, after mourning by song and dance throughout, Achugar abruptly stopped and suddenly stripped off her clothes. Her entire torso revealed, she forced herself towards the center of the stage, slowly crawling on all fours like a wounded animal. When she reached the mic stand in the middle, she laid on her back and tried to maneuver it around with just her feet. Struggling to do so, she spoke in plain English for the first time in the show and proclaimed, “This is why you need hands!” As she got up to play with the mic, she pretended that it was a stripper pole and danced around it flirtatiously, binding her entire body with the wire. At some point, she dropped on all fours and placed the mic, still connected to a wire, between her legs. An energetic pop song blasted throughout the room, and she playfully shook the mic back and forth like a phallic object at the audience. Soon after the spectacle was over, the music stopped, and Achugar disappeared into the

    More about Emotional Analysis: Julie Tolentino And Luciana Achugar

      Open Document