Reviewed by: Performance, Identity, and Immigration Law: A Theatre of Undocumentedness by Gad Guterman Christopher Goodson PERFORMANCE, IDENTITY, AND IMMIGRATION LAW: A THEATRE OF UNDOCUMENTEDNESS. By Gad Guterman. New York: Palgrave Macmillan, 2014; pp. 248. In this well-researched study, Gad Guterman examines how the growing repertory of theatrical representations of undocumented immigrants “can bring those forced into spaces of nonexistence out of the shadows and, in so doing, mitigate the violence characteristic to those spaces” (4). For Guterman, this repertory has received scant attention, and, given the “screaming rhetoric” within the immigration debate, he seeks to answer the question, “How does theatre participate in making undocumentedness visible?” (10, 4). Avoiding an analytical structure based on nationality or ethnicity and instead foregrounding questions of movement, labor, and family, Guterman inventively titles his chapters with headings from the Immigration and Nationality Act of 1965. He thereby unifies the plays through a legalistic framework, highlighting both the shifting frontier of undocumentedness and evolving US policy. Guterman concludes his first section by examining US immigration law, from the Chinese Exclusion Act of 1882 to Arizona State Bill 1070. In chapter 2, Guterman borrows Diana Taylor’s concept of the repeatable “scenario” and offers the “border scenario,” examining Genny Lim’s Paper Angels, which depicts Chinese immigrants at California’s Angel Island Immigration Detention Center, and Culture Clash’s Bordertown, a comedic take on Mexico/US border issues (34). For Guterman, both plays highlight the frailty and ambivalence of US law, as well as the border’s inherent theatricality. The plays, each depicting entry attempts into the United States, “expose the role that performance plays in maneuvering border interactions” (41). Guterman’s methodology is not limited to close readings of the texts, as he draws from both archival video and live performance. The live body is essential for him because not only does an actor’s ability to “cross-document” challenge an audience’s understanding of legal labels of identity, but real-world “performances of credibility” are integral to the immigrant experience, whether crossing the border or taking a citizen’s entrance exam (47, 41). Although Guterman applauds the intention of such plays, he ends his chapter with an incisive materialist analysis that shows how the work risks being de-historicized by a push to fit into ethnic cubbyholes. He uses chapter 3 to spotlight plays that exhibit the skewed power dynamics and unsustainable situations faced by domestic workers while at the same time provoking his readers to consider theatre-making’s deep entanglement with the exploitive practices that rely upon undocumented labor. While Guterman commends Lisa Loomer’s Living Out, Milcha Sánchez-Scott’s Latina, and Octavio Solis’s Lydia for their sympathetic depictions of female laborers at odds with the isolating conditions of domestic work, he also uncovers what he feels to be the ineffectiveness of the plays’ flattened and essentialized characters. Guterman strongly questions how the productions of these plays, imbricated in a capitalist system of labor exploitation (that is, the practices of their corporate sponsors and un-credited theatre custodians), offer any real remedy to those in undocumentedness. Suggesting that the plays perpetuate clichéd images of immigrants within a political economy of theatre that excludes those for whom it claims to advocate, Guterman provocatively suggests that the plays result in the practice of what he calls “undocumentedface,” a kind of questionable ventriloquism in which “the undocumented are representable and represented but not present” (93). Guterman’s next chapter skillfully examines the characters within Teatro de la Esperanza’s La Victima, Janet Noble’s Away Alone, and Guillermo Reyes’s Deporting the Divas to expose how US immigration law imposes meaning and value on various relationships, especially in regard to the upholding of heterosexual normativity. For the undocumented characters in these plays, whether in a multigenerational Mexican American family, in the surrogate families of the Irish diaspora, or in the twice-marginalized space of homosexual immigrants in California, the precarious state of legal nonexistence impedes their ability to maintain personal relationships. Although the plays ostensibly challenge the hypocrisies within US law, for Guterman, they often reinforce the compulsory heteronormativity that (in the real world) satisfies immigration authorities. In an...
Read full abstract