Introduction -- Cherríe Moraga's Writing Toward Difference -- Speaking from Difference -- Plot Summary -- Manuel's Injury -- Chicana Visibility and Vision -- The Double Bind of Motherhood -- Leticia: Sex and Subjectivity -- Lupe's Kinder God -- Butler 's Performativity and Moraga's Divine -- Brava! For Women in the Arts -- Conclusion -- Alina Troyanos Performative Autobiography: The Carmelita Solution in -- Background -- The Stage at P.S. 122 -- Slide Show -- Whose Amnesia Is It? -- Breaking Down Coherent Identity -- Milk and Cultural Productivity -- The Writer/Carmelita Dyad -- Inventing the Self -- Pingalito -- Conclusion -- The Exchanges of Coco Fusco and Não Bustamante's -- The Performers/Composers -- Stuff at Dixon Place -- Spectatorship at Stuff -- Postcards from the Performers: Dear Liz, Dearest D.L., Dear Kim, My Sweet Suzy -- Stuff's Narrative -- The Economic Demand to Perform "the Native" -- Theatre and Tourism: Investment in Fantastical Natives -- Transculturation and the Art Market -- Inventive Resistance -- Para-Theatrics of Tourism -- Conclusion: Liveness -- Notes -- Chapter One -- Chapter Two -- Chapter Three -- Conclusion -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I J -- K L -- M -- N -- O P -- R -- S -- T -- U -- V W -- Y.