In lieu of an abstract, here is a brief excerpt of the content:

• Gestures toward a Hemispheric Theatre HistoryA Work in Progress
• Patricia Ybarra (bio)

For this issue on hemispheric theatre history I ask the following question: How does one teach a theatre and performance history survey course from a hemispheric perspective? For me, this investigation has a long history. It is an ongoing practice responsive to methodological and theoretical changes in the field and to the political conditions within which I teach. The recent incorporation of Latin American theatre forms into canonical theatre history texts attests to the fact that these performances are now a part of a global theatre history.¹ This is not merely an additive operation but an epistemological one that questions the definition of performance. That is, survey classes can frame performance in the way advocated by Diana Taylor and others: as a mode of knowledge production including indigenous forms of cosmology that are not contained by Western European definitions of theatre.² I have been an advocate of this shift in focus—a commitment I share with many scholars whose work in this area preceded my own: Taylor, Adam Versényi, Jean Graham-Jones, Jill Lane, and Tamara Underiner, among others.³

The recent revisions to my syllabus, however, signal a move from teaching theatre history as a Latin Americanist to teaching theatre history from an Americas or hemispheric perspective. This move overtly links global theatre history to Aníbal Quijano’s conception of the coloniality of power and to Gerald Vizenor’s theorization of indigenous survivance. Quijano’s theory maintains that the creation of race and the emergence of modern capitalism are coincident with an idea of America created during the Spanish Conquest, during [End Page 123] which European invaders labeled non-European people as inferior so as to dominate them.⁴ Gerald Vizenor’s term “indigenous survivance” frames creative practice by indigenous people as an active presence outside of the tragedies of colonialism and disappearance that occurred subsequent to the events Quijano describes. Vizenor’s theorization, it should be said, emerges from forms of settler colonialism that utilize reservation and boarding school systems, which were largely with the US and Canada, rather than forms that attempted to destroy indigenous culture through other means.⁵ Ironically, then, making my syllabus truly hemispheric meant paying more attention to the US and Canada. This shift in thinking was made possible by two people: my student Lilian Mengesha, whose dissertation brings together Canadian, US, and Mexican/Central American thinking about land, gender, and vulnerability, and Monique Mojica, with whom I taught a course on indigenous performance in fall 2016.⁶ In this essay, I will narrate my development of a theatre history course that meets the demands of the move to decolonize one’s syllabus while teaching the fundamental methods of performance historiography.

A History of My Theatre History

When I arrived at Brown in 2004, I began teaching a theatre history course, Theatre Arts and Performance Studies (TAPS) 1240, which covers theatre and performance history from 1500 to 1850. I have taught it most years from then until now. TAPS 1240 is a required course for most tracks in our theatre arts and performance studies concentration (our term for a major). The course is one of a three-course sequence on theatre and performance history. The course is part lecture and part discussion and usually enrolls between twenty and thirty students, most, but not all, of them concentrators. Presently, I combine a textbook (Theatre Histories, Tobin Nellhaus, General Editor) with plays, performance scripts, and theoretical essays as readings for the course. The course has a midterm, a presentation, a final exam, and a final paper that requires archival research.

When I began teaching, the faculty wanted to change the curriculum so that TAPS 1240 would be global rather than simply Western in focus.⁷ The political and social movements during these 350 years necessitated that this course not simply be one about theatre and performance during a particular period but an historiographical investigation into how theatre and performance participate in, embody, and defy the emergence and development of colonialism (the policy of acquiring full or partial control over another country or area, exploiting [End Page 124] it...

中文翻译：

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对半球剧院历史的手势：正在进行的工作

代替摘要，这里是内容的简要摘录：

• 对半球剧院历史的手势正在进行中的工作
• 帕特里夏（Patricia Ybarra）（生物）

对于这个关于半球剧院历史的问题，我提出以下问题：如何从半球的角度教授戏剧和表演历史调查课程？对我来说，这项调查历史悠久。这是一种持续不断的实践，可响应该领域的方法和理论变化以及我所教授的政治条件。拉丁美洲戏剧形式最近被纳入规范的戏剧历史文本中，证明了以下事实：这些表演现已成为全球戏剧历史的一部分。^1个这不仅是加法运算，而且是对性能定义提出质疑的认识论运算。也就是说，调查课可以按照戴安娜·泰勒（Diana Taylor）等人所倡导的方式来构架表演：作为一种知识生产方式，包括西欧戏剧定义中未包含的本土宇宙学形式。²我一直是这种关注焦点的拥护者-我与许多在我这个领域工作先于我的学者的共同承诺：泰勒（Taylor），亚当·凡森尼（AdamVersényi），让·格雷厄姆·琼斯（Jean Graham-Jones），吉尔·莱恩（Jill Lane）和塔玛拉·安德纳纳（Tamara Underiner）等。³

但是，最近对我的课程提纲进行了修订，这标志着从拉丁美洲戏剧家的戏剧历史教学到从美洲或半球视角的戏剧历史教学的转变。这一举动将全球剧院历史与阿尼巴尔·基雅诺（AníbalQuijano）对权力殖民的构想以及杰拉尔德·维泽诺（Gerald Vizenor）对土著生存的理论联系在一起。Quijano的理论认为，种族的创造和现代资本主义的出现与在西班牙征服期间创建的美国的观念相吻合，在[End Page 123]期间，欧洲入侵者将非欧洲人民称为劣等，从而称霸了欧洲。⁴杰拉尔德·维兹诺（Gerald Vizenor）的“土著生存”一词将土著人民的创造性实践描述为在Quijano所描述的事件之后发生的殖民主义和失踪悲剧之外的一种积极存在。应该说，维泽诺尔的理论化起源于定居者殖民主义的形式，这种形式利用的是美国和加拿大的保留和寄宿制，这主要是美国和加拿大所采用的形式，而不是试图通过其他手段破坏土著文化的形式。⁵具有讽刺意味的是，要使我的课程大纲真正成为半球，就意味着要更加关注美国和加拿大。这种思想的转变是由两个人实现的：我的学生莉莲·门格沙（Lilian Mengesha），其论文汇集了加拿大，美国和墨西哥/中美洲关于土地，性别和脆弱性的思考，以及莫妮卡·莫希卡（Monique Mojica），我与他一起讲授了土著课程表演，将于2016年秋季举行^。6在本文中，我将讲述我的戏剧历史课程的发展，该课程可满足在教授表演史学基本方法的同时取消课程大纲非殖民化的要求。

我的剧院史

当我2004年到达布朗时，我开始教授戏剧历史课程，即戏剧艺术与表演研究（TAPS）1240，涵盖了1500年至1850年的戏剧和表演历史。TAPS 1240是我们戏剧艺术和表演研究集中（我们的专业术语）大多数轨道必修的课程。本课程是有关戏剧和表演历史的三门课程之一。该课程分为部分讲座和部分讨论，通常招收20至30名学生，其中大多数（但不是全部）是集中人。目前，我结合了一本教科书（戏剧史）（Tobin Nellhaus，总编辑），并提供戏剧，表演剧本和理论文章作为该课程的阅读材料。该课程有期中，演讲，期末考试和需要档案研究的期末论文。

当我开始教学时，教师希望更改课程设置，以便TAPS 1240成为全球性的重点，而不仅仅是西方的重点。⁷在这350年间的政治和社会运动中，这门课程不仅要涉及特定时期的戏剧和表演，还需要对戏剧和表演如何参与，体现和挑战殖民主义的出现和发展进行史学调查（取得对另一个国家或地区的全部或部分控制权的政策，利用[End Page 124] ...