Reviewed by:

• Theatre and Cartographies of Power: Repositioning the Latina/O Americas ed. by Jimmy A. Noriega and Analola Santana
• Eric Mayer-García

Editors Jimmy A. Noriega and Analola Santana's recent volume of critical essays forges a truly hemispheric discourse on theatre historiography. This transformative achievement is made possible through colossal efforts in networking and translation to bring a number of key interventions to bear on our field from over thirty national, transnational, and regional perspectives. The most persuasive intervention ties them all together: the editors frame the dominance of Western and Eurocentric lenses in our field in terms of "cartographies of power," a form of ideological subjugation through mapping and its concomitant imaginaries. They challenge us to acknowledge the ways cartographies of power—beginning with early colonial accounts written by Columbus or Bernal Díaz and continuing through the United States' economic, political, and military aggression—have shaped histories and conceptions of performance throughout the Americas. All the while, binaries such as Old/New, Anglo/Latin, and North/South continue to dictate the way theatre is categorized, written, taught, and disseminated from the North. Noriega and Santana reference Uruguayan avant-garde artist Joaquín Torres-García's América Invertida (1943), an ink rendering of South America that places the South Pole at the top of the map, as an inspiration for the volume and for reorienting the reader's cartographic bearings. Retooling theory from Doreen Massey, Lawrence Grossberg, and others, the concept of cartographies of power forms the basis for the questions posed to each contributor, who probe for whom and by whom theatre histories of the hemispheric Americas have been mapped, and how scholars and artists can (re)position the Americas to allow for agency, diversity, and visibility in theatrical imaginaries and artistic works.

Contributors confront and subvert cartographies of power through a variety of genres such as historiography, performance theory, testimony, memoir, and aesthetic philosophy. The collection's five sections speak to one another and give coherence to its many contributions, whose varying lengths, genres, and styles violate the norms of theatre scholarship and make the volume anything but monotonous. Noriega and Santana position their work as a much-needed continuation of the conversation started by Diana Taylor and Juan Villegas's Negotiating Performance: Gender, Sexuality, and Theatricality in Latin/o America (1994). There is a great balance among the contributors, who include established rainmakers of Latinx and Latin American performance criticism, emerging leaders in the field, and some of the most important artists of the last thirty years. That more than a few of the contributors have published monographs on related topics in the last five years speaks to their stake in the volume's intervention and the level of their expertise.

To take this book as establishing a new Latinx or Latin American canon would be to misread the project's aims. The volume features a guardian at the door, literally on the cover, to thwart such a colonizing reading. The book's first contributor, Mexican performance artist Violeta Luna, offers a performance titled Transient Corporalities, commissioned for the volume and presented through a series of photographs by Zen Cohen. In the first photograph, "Aztekali," Luna performs a fierce Aztec-Hindu goddess as a bricolage of coded references, misogynist rhetoric, mass-produced textiles, and incongruent fragments of displaced colonial gazes. The resulting opacity creates mayhem for dominant cartographic frames and critically reworks histories of gender, race, nation, and globalization. Fellow contributor Jorge Dubatti's definition of theatricality as engendered by the capacity "to organize the gaze of the other, to produce a political optics or a politics of the gaze" (35) resonates with Luna's theory in practice, as she stares back at a gaze that is preoccupied with the discovery of a new Latin American Otherness—a gaze she cites [End Page 540] and constructs through co-opted colonialist imagery. Her refusal to deliver such a fiction is legible in the irony of each photo. Luna's subversive play...

审核人：

• 权力的剧院和制图：重新定位Latina / O Americas编。吉米·A·诺列加（Jimmy A.
• 埃里克·梅耶·加西亚

编辑吉米·A·诺列加（Jimmy A. Noriega）和阿纳罗拉·桑塔纳（Analola Santana）最近发表的评论文章构成了关于戏剧史学的真正半球形论断。通过在网络和翻译方面的巨大努力，从30多个国家，跨国和地区的角度对我们领域进行了许多重要的干预，这项变革性成就成为可能。最有说服力的干预将它们联系在一起：编辑者以“权力制图”的形式来构筑西方和欧洲中心视角在我们领域中的主导地位，这是一种通过制图及其伴随的虚构而被意识形态屈服的形式。他们向我们挑战，要承认权力制图的方式-从哥伦布或伯纳尔·迪亚斯（BernalDíaz）撰写的早期殖民史开始，并贯穿美国的经济，政治，政治，文化和政治经济学。和军事侵略，已经塑造了整个美洲的历史和绩效观念。一直以来，二进制文件（例如旧/新书，盎格鲁/拉丁书和北/南书）继续决定剧院从北方分类，写作，教授和传播的方式。诺列加（Noriega）和桑塔纳（Santana）参考乌拉圭前卫艺术家华金·托雷斯·加西亚（JoaquínTorres-García）的作品AméricaInvertida（1943），南美的一种水墨画，将南极放置在地图的顶部，以激发灵感，以提高体积并重新定向读者的制图方位。来自多琳·梅西（Doreen Massey），劳伦斯·格罗斯伯格（Lawrence Grossberg）等人的重组理论，权力制图的概念构成了向每个贡献者提出问题的基础，这些贡献者探究了谁为谁和谁绘制了半球美洲的剧院历史，以及学者和学者如何艺术家可以（重新）定位美洲，以使剧场虚构和艺术作品具有代理权，多样性和知名度。

贡献者通过各种体裁来面对和颠覆权力制图，例如历史学，表演理论，证词，回忆录和美学哲学。集合的五个部分相互交谈，并使其许多贡献连贯一致，其不同的长度，体裁和风格违反了戏剧学术的准则，并且使得该卷几乎单调。Noriega和Santana将他们的工作定位为戴安娜·泰勒（Diana Taylor）和胡安·维耶加斯（Juan Villegas）的《谈判表现：拉丁美洲，美国的性别，性和戏剧性》开始的对话的非常必要的延续。（1994）。贡献者之间有很大的平衡，其中包括成熟的拉丁裔和拉丁美洲表演批评家，该领域的新兴领导者以及过去30年中最重要的一些艺术家。在过去的五年中，有不止一些贡献者发表了有关相关主题的专着，这说明了他们在本书的干预和专业水平方面的利益。

将此书视为建立新的拉丁文或拉丁美洲经典，将误解该项目的目标。该书的门上有个监护人，实际上是在封面上，以阻止这种殖民化的阅读。该书的第一位撰稿人，墨西哥表演艺术家Violeta Luna，发表了题为《瞬态尸体》的表演。，由该卷委托制作，并通过Zen Cohen的一系列照片进行介绍。在第一张照片“ Aztekali”中，Luna表现出凶猛的阿兹台克人-印度教女神，作为编码参考文献，女权主义者的言论，大规模生产的纺织品以及错位的殖民地凝视的残缺碎片的缩影。结果造成的不透明性给主要的制图框架造成混乱，并严重地重编了性别，种族，民族和全球化的历史。贡献者乔治·杜巴蒂（Jorge Dubatti）对戏剧性的定义是由于“组织他人的视线，产生政治视线或政治视线”的能力所引起的（35）在实践中与Luna的理论产生了共鸣，并通过精选的殖民主义意象进行建构。每张照片具有讽刺意味的是，她拒绝发表这样的小说都是显而易见的。露娜的颠覆性剧...