In some theatre communities in Latin America, devised projects (creación colectiva) became a dominant presence throughout the 1960s-1980s, grounding a practice that remains fundamental today, though such work presents a challenge to study in traditional, script-based classrooms. For those of us who work with Latin American theatre in an academic setting in the United States and who would like to give our students a taste of the challenges and rewards of developing and staging devised productions, the big questions we always ask ourselves include where to begin, with which models, in what balance of textual reading and production work, and in which language. The challenge, then, is not with devising per se, but rather with determining how to incorporate student devising adequately into “rigorous” theatre study, where the word “rigorous” stands in for a host of often-underexplored presumptions about methodologies and practices. This article is illustrated with examples of recent devised productions by the Cornell theatre troupe Teatrotaller. I am convinced—having done both scene work and full production—that the advantages of performance in the target language are best achieved when the stakes are high, not just scene work in a classroom setting, but full performance for a diverse public.

中文翻译：

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在拉丁美洲戏剧中设计为教学实践

在拉丁美洲的一些剧院社区中，精心设计的项目（集体创作）在整个1960年代至1980年代占据了主导地位，尽管这种工作对在传统的基于脚本的教室中学习构成了挑战，但这种做法在今天仍然是基础。对于那些在美国学术环境中与拉丁美洲剧院合作并希望让学生体会到开发和上演精心制作的作品的挑战和收获的人来说，我们经常问自己的主要问题包括在哪里首先，使用哪种模型，在文本阅读和制作工作之间取得何种平衡以及使用哪种语言。因此，挑战不在于设计本身，而在于确定如何将学生的设计充分纳入“严格的”戏剧研究中，“严格”一词代表了很多关于方法论和实践的未被充分理解的假设。康奈尔剧院团Teatrotaller最近设计的作品的例子说明了本文。我坚信（既完成了现场工作又进行了全面制作），当赌注很高时，目标语言的表演优势可以最好地发挥出来，不仅是在教室中进行现场表演，而且还可以为多样化的公众提供全面的表演。