Raquel Almazan

“I hope I never have to see a couch on stage again.”


-Raquel Almazan, 20 Theater Figures on How to ‘Revolutionize’ Their World, New York Times

Playwright Bio

Raquel was born in Madrid – Spain, is also of Costa Rican descent and has lived most of her life in the U.S. As an interdisciplinary artist she holds an M.F.A. in Playwriting from Columbia University. B.F.A. in Theatre from University of Florida/New World School of the Arts Conservatory. She develops work as a writer, director, actor, dramaturge and is also a Butoh dance practitioner. Almazan is the Artistic Director of LA LUCHA ARTS, producing several of her original works, including LATIN IS AMERICA play cycle and lecture-performance, a collection of bi-lingual works in dedication to Latin American countries. Select play credits include: La Paloma Prisoner Arthur J. Harris Social Justice Prize/Arch and Bruce Brown LGBTQ Prize – workshop: Signature Theatre, readings: La Mama ETC, INTAR, Labyrinth and The Lark). CAFÉ (Kennedy Center’s Latinidad Award, Columbia Stages workshop directed by Elena Araoz). La Negra (Workshop: BRIC Arts-directed by Mei Ann Teo, readings; Lincoln Center w/ Classical Theatre of Harlem, Teatro Iati). When I Came Home (Pregones- PRTT) La Migra Taco Truck and Dar a Luz (off Broadway NYC Theatre Row, Aspen Stage, New Theatre–FL). Does that Feel Good to you My Lark?: A Doll’s House Adaptation (Bushwick Starr reading/New Georges – Audrey residency, directed by Miranda Haymon). Cross//Roads: Re-framing the Immigrant Narrative (commissioned workshop: La Micro Theatre). Artistic Advisor of R. Piniella’s Bi-lingual Hamlet workshop (The Public Theater). She has been awarded a Professional Development residency with the Eugene O’Neill Center Playwrights Conference and Core Apprentice residency, affiliated writer with The Playwrights’ Center.

-Bio from: raquelalmazan.com

Highlighted Play;

Does that Feel Good to You, My Lark?

Laura Kieler was a Norwegian-Danish novelist and author. Rising to fame for writing a sequel to Henrik Ibsen's verse "Brand," the two became close. When Laura was institutionalized by her husband, Ibsen used her story as inspiration for A Doll's House. This multi-generational, multicultural retelling of A Doll's House focuses the narrative back onto Keiler as she comes to terms with her life before being institutionalized, and her reputation and legacy after being overshadowed by her connections to Ibsen.

Audience:

  • Due to the profanities and sexual imagery within the play, it is recommended to not do the full text with students below the college level. Excerpts can be used at lower levels.

How This Work Can Be Used:

  • Have students read Henry Ibsen's A Doll's House, including a discussion about the importance of the work for the feminist movement across Europe.

  • Provide students with excerpts from Does That Feel Good to You, My Lark? which explores how the narrative created by Ibsen was inaccurate to the experiences of women of the time period, and how the twisted version of her life effected Kieler's image and career.

    • Depending on the sections used, it may be helpful to have a small presentation about who Laura Kieler was, and the true events of her life.

  • Have the students examine the texts side by side, pulling out key differences. Use (some) of the following discussion questions to help guide class discussion.

Discussion Questions:

  • What knowledge did you have of a Doll’s House, and the impact it has had on feminism and feminist's theatre before reading this play? How familiar were you with Laura’s story? How does that affect how you read this play?

  • What impact does POC playwrights retelling traditionally acclaimed works of theatre have?

  • What effect does learning the story of Laura Kieler from a female perspective?

  • Why is it important to question works that are considered "classics?"

  • Raquel breaks the 4th wall many times throughout the play, what effect does this have on the work?

  • Raquel starts with research into the culture, location, characters, etc. before she starts writing. Do you believe that research should lead an artistic process, or should an idea lead the creative process?

Latin is America

  • The Latin Is American Play Cycle, written by Raquel and produced in conjunction with La Luncha Arts, is a collection of bi-lingual plays written in dedication to countries and dependencies in Latin America, bringing attention to women’s issues.

    • THE RIVER’S EDGE- Tells the story of a pair of young twins as they attempt to survive the 1937 Haitian Massacre.

    • LA NEGRA-A Mexican Drug Goddess transforms into La Santa Muerte.

    • CAFÉ- Follows five generations of women on a Guatemalan coffee farm.

    • EL ODIO DE UN PAIS- The Hate of a Country- An examination of Rape culture and personal Costa Rican mythology.

    • THE HOPEFULNESS or LA ESPERANZA- Dominican sex workers hide in cargo boxes to conquer the Old World.

    • AZAMEMNO- The MS-13 Gang in El Salvador are the new Lenca legends, an Agamemnon war cycle continues.

    • LA PALOMA PRISONER- The Zipa people beautifying the body to honor indigenous Colombian Gods becomes a beauty pageant for incarcerated women today.

La Paloma Prisoner

Photo credit: Bobby Plasencia

Workshop Production at The Signature Theatre Off-Broadway 2015

Based on the true story of a group of women incarcerated in Colombia, this play examines the political, social, and religious history of the country as the prisoners are forced to compete in a beauty pageant. It focuses on a new poisoner named La Paloma, who was arrested for killing men who raped other women. As the murders of rapists continues outside the walls of the prison, leading to the legend of La Paloma, the women inside the prison are forced to reexamine what it means to be beautiful, and a female prisoner. It is inspired by Almazan's activism and years of work with incarcerated individuals and impacted communities, and is written to lift up the voices of formerly incarcerated POC female-identifying people.

La Negra

Inspired by the life of Griselda Blanco and the events in current Tijuana, Mexico, Drug Cartel Queen La Negra reflects on her journey from a life of child prostitution to the head of a drug empire as she transforms into Sata Muerete, a death goddess of healing and protection in folk Catholicism and Mexican Neopaganism. While her lover and hundreds of children lead her towards light and peace, police officers, skull figures, and the citizens of Tijuana force her to face the darkness of the world.

Complete Body of Work

As none of the following plays are published, if interested in using any of Almazan's work, please contact her at raquelalmazan.com/contact/

  • LA PALOMA

  • LA NEGRA

  • PORNING THE

  • DOES THAT FEEL GOOD TO YOU MY LARK?

  • DAR A LUZ

  • CAFÉ

  • THE HISPANICK

  • WATERMELON

  • LA MIGRA TACO TRUCK

  • EL ODIO DE UN PAIS,

  • WHEN I CAME HOME

  • THE HOPEFULNESS

  • CROSS ROADS: RE-FRAMING THE IMMIGRANT NARRATIVE

  • AFTERMATH

  • LET’S EAT!

  • DEATH OF THE DOLL

  • BETWEEN YOU, ME AND US

  • ARMS

  • THE RIVER’S EDGE-GODDESSES RETURN TO THE TEMPLE

  • WHO’S SCHOOLING WHO? And THIS IS FOR SACRED PUSSY

  • UN-WELCOMED SAINTHOOD

  • THE FUTURE IS FEMALE

  • EL BUSCON

  • REGRESAR

  • THE FESTIVAL OF LIGHTS

  • CHUT UP!

  • SHE WOLVES: Women in Sex, Death and Re-birth

  • ALIVE DEAD BABY

  • GLOSSY PAGE PIMP

  • DEATH OF THE DOLL

  • ANOMIE

  • THREE-BIT HOODS

  • JUNKYARD FOOD

  • BLOOD BITS

  • BASTOS MONOLOGUE

Bibliography

Adler, B. C. (2019, November 26). Works of Justice: An interview with Raquel Almazán. PEN America. Retrieved April 10, 2022, from https://pen.org/works-of-justice-raquel-almazan/

Adler, B. C. (2020, January 30). The pen ten: An interview with Raquel Almazan. PEN America. Retrieved April 10, 2022, from https://pen.org/pen-ten-interview-with-raquel-almazan/

Almazan , R. (2022, January). Raquel Almazan CV . Raquel Almazan . Retrieved April 11, 2022, from https://raquelalmazan.com/wp-content/uploads/2021/09/RAQUEL-ALMAZAN-CV-web.pdf

Almazan, R. (2022, January). Artist statement. Raquel Almazan. Retrieved April 10, 2022, from https://raquelalmazan.com/artist-statement/

Almazan, R. (2022, January). Latin is America. Raquel Almazan. Retrieved April 10, 2022, from https://raquelalmazan.com/latin-is-america/

Company, L. J. T. (2020, October 22). Meet teaching artist, Raquel Almazan. Medium. Retrieved April 10, 2022, from https://lifejacket.medium.com/meet-teaching-artist-raquel-almazan-ffda6f6f8011

Henseler, C. (2017, September 30). Raquel Almazan: On art, struggle and transformative action. HuffPost. Retrieved April 10, 2022, from https://www.huffpost.com/entry/raquel-almazan-on-art-struggle-and-transformative_b_59486a15e4b04d8767077b29

Marymount Manhattan College. (2022). Raquel Almazan. • Theatre Arts • Marymount Manhattan College. Retrieved April 10, 2022, from https://www.mmm.edu/live/profiles/3826-raquel-almazan

Rustin, S. (2013, August 10). Why a doll's House by Henrik Ibsen is more relevant than ever. The Guardian. Retrieved April 10, 2022, from https://www.theguardian.com/stage/2013/aug/10/dolls-house-henrik-ibsen-relevant

Schuessler , J., & Heller, S. (2020, September 11). 20 theater figures on how to ‘revolutionize ... - The New York Times. New York Times. Retrieved April 11, 2022, from https://www.nytimes.com/2020/09/11/theater/how-to-revolutionize-theater.html

Simpson, A. (2022, January 17). Chelsea factory aims to fill the live arts void covid-19 wrought. W Magazine. Retrieved April 10, 2022, from https://www.wmagazine.com/culture/chelsea-factory-new-york-city-performing-arts-space-interview

Turner, J. D. (2021, September 5). This storyteller is subverting what we know about theater. CircleAround. Retrieved April 10, 2022, from https://circlearound.com/inspiration/storyteller-is-subverting-what-we-know-about-theater

Webpage Complied by Alyssa Williams (2022)