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A essay is presented concerning on the depiction of minor transnationalism in the play "Chicken Cordon Blue" directed by Dominican author Frank Disla. Topics discussed include Disla's pursuit of new political and artistic belonging forms through creating Dominican transnational migration stories, the difference between the transnationalism and globalization discourses and the opinion of professors Françoise Lionnet and Shu-mei Shih about minor transnationalism.

P.A.R.G.O.: Los Pecados Permitidos (2001) by the Dominican playwright, director, and actor Waddys Jaquez has resonated with diverse audiences across the United States, Latin America, and the Caribbean because it presents a tragicomic vision of the interchange of people, capital, and culture between the north and the south. The author argues that the abject immigrant characters in Jaquez's darkly comic play perform the exclusion of transnational subjectivities from orthodox national imaginaries. In the play, four supposedly rehabilitated Latinos in New York City resist the normalizing action of a support group session—read here as assimilation—and display a politics of abjection that exposes the unremitting "ontological discomfort" of their transnationality. [ABSTRACT FROM AUTHOR]

Examines the representation of national cultural identity in the plays "Beef, No Chicken" and "The Last Carnival" by Derek Walcott. Themes of the plays; Characters in the play; Utilization of metatheatrical techniques in the plays.