Abstract: During the interwar period, Buenos Aires established itself as a Jewish city of international cultural relevance. In the 1930s in particular, a rich Yiddish theatre circuit was developed and supported by the city’s large population of Yiddish-speaking Jews. Buenos Aires soon became a privileged destination in the tours of itinerant Jewish artists and a theatrical center that attracted a large

Abstract: Gil Vicente (1465?–1536?) is a foundational playwright in Portuguese theatre history. The rediscovery of his work over the years elevated him to the status of “father of Portuguese drama,” while his growing stature was politically celebrated with great enthusiasm throughout the 19th and 20th centuries. His presence remains today, despite the lack of critical studies on his theatre and legacy

Abstract: This essay explores the relationship between terror and spatiality in Maria Irene Fornes’s Terra Incognita (1991), a play rooted firmly, as its title suggests, in the production of spatiality. Fornes turns conventional spatial conceptions upside down by synchronising history with the present. Spatiality corresponds to both the social and political practices of terror and the alternative spaces

Abstract: During the last five years, new creations by Mapuche artists with a clear political imprint have renewed Chile’s national artistic scene. Among these works are Malen by choreographer Ricardo Curaqueo Curiche, premiered in October 2017, and Trewa. Estado-Nación o espectro de la traición by playwright Paula González Seguel, premiered in March 2019. Both creators construct universes and stories

Abstract: A distinctive feature of Juan Radrigán’s theatrical production is his approach to the world of the marginalized and displaced sectors of Chilean society under the dictatorial regime (1973–1990) led by Augusto Pinochet. In this context, the absence of dialogue and understanding leads to social, political, economic, and human alienation. Such a process is evident in Redoble fúnebre para lobos

Abstract: Early twentieth-century nativist dramaturgy explored Conservative Argentina’s dreams of racial purity and “peace and administration” in the context of transatlantic migratory flows and major changes in the urban design of Buenos Aires. Nativism aimed at identifying and preserving ways of being criollo by turning to the Pampas as an idyllic space of agglutination of national values, particularly

Abstract: This study examines the urban ludic sphere in the Río de la Plata region during the first decade of the twentieth century, with particular emphasis on the sainete criollo as the main protagonist. The plays analyzed in this article occupied the public sphere through their engagement with socio-economic issues that emerged within the context of rapid modernization. They developed relationships

Abstract: Ya nadie recuerda a Fréderic Chopin (1982) by Roberto Cossa is part of a set of works in which the past functions as a burden that paralyzes the characters or as a place in which to escape the present. This set of pieces, which we consider under the label “unproductive nostalgia,” are presented in an introductory section that offers a complete map of Cossa’s works on memory. The second part

In lieu of an abstract, here is a brief excerpt of the content: Cómo reivindicar un género postergado y libertino: el FICA de Buenos Aires Christina Baker and Gastón Alzate Se celebró entre el 3 y 5 de diciembre del 2020, en un formato virtual con transmisión vía streaming (algunas obras o sketches pregrabados y otros en vivo), el Festival Internacional de Cabaret de la Ciudad Autónoma de Buenos Aires

In lieu of an abstract, here is a brief excerpt of the content: Digitally-Delivered Mexican Theatre during the COVID-19 Pandemic of 2020 Timothy G. Compton Covid 19’s appearance in March 2020 closed theatre stages all over the world, including those in Mexico. Countless projects shut down, some after long runs, while others were forced to close after months of rehearsals or precious few performances

In lieu of an abstract, here is a brief excerpt of the content: The Creation of “Zoomtheater” in the Time of COVID-19 Nora Glickman Among the numerous disasters that COVID-19 has caused since the beginning of March 2020—the death of hundreds of thousands, the loss of jobs and businesses, the closing of schools and cancellation of artistic events—, we appreciate any signs of a silver lining in this

In lieu of an abstract, here is a brief excerpt of the content: Entrevista a Lázaro Gabino Rodríguez de Lagartijas Tiradas al Sol María del Pilar Miranda Rocamora Lagartijas Tiradas al Sol es una compañía de teatro mexicana creada en 2003 por Luisa Pardo y Lázaro Gabino Rodríguez. Esta cuadrilla de artistas lleva ya casi dos décadas triunfando sobre las tablas de ambos lados del Atlántico, habiendo

In lieu of an abstract, here is a brief excerpt of the content: La memoria de la dictadura reciente en el teatro uruguayo: Una entrevista con Raquel Diana Karunika Kardak and Juan José Mosquera Ramallo Ahora que se aproxima la celebración de la vigesimosexta Marcha del Silencio en el Uruguay que tuvo lugar por primera vez el 20 de mayo de 1996 en Montevideo, en la que la organización Madres y Familiares

In lieu of an abstract, here is a brief excerpt of the content: “A home page for all of us”: A History of Café Onda: Journal of the Latinx Theatre Commons (2013–2018) Trevor Boffone In May 2012, a group of eight Latinx theatre-makers from across the country met under the auspices of the American Voices New Play Institute at Arena Stage in Washington, D.C.—soon to be HowlRound Theatre Commons at Emerson

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Performances of Suffering in Latin American Migration: Heroes, Martyrs and Saints by Ana Elena Puga and Víctor M. Espinosa Debra A. Castillo Puga, Ana Elena and Víctor M. Espinosa. Performances of Suffering in Latin American Migration: Heroes, Martyrs and Saints. Palgrave Macmillan, 2020. 372 pp. This collaboration between

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Insignificantes en diálogo con el público. El teatro de la generación Fonca by Daniel Vázquez Touriño Elvira Popova Vázquez Touriño, Daniel. Insignificantes en diálogo con el público. El teatro de la generación Fonca. Madrid: Verbum, 2020. 262 pp. Insignificantes es la expresión con la que me referiría a personajes de la literatura

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Aquí and Allá: Transnational Dominican Theater and Performance by Camilla Stevens Bretton White Stevens, Camilla. Aquí and Allá: Transnational Dominican Theater and Performance. U of Pittsburgh P, 2019. 269 pp. In this engaging study of contemporary Dominican drama and performance, Stevens makes a compelling argument for how

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Performance in the Zócalo: Constructing History, Race, and Identity in Mexico’s Central Square from the Colonial Era to the Present by Ana Martínez Iván Eusebio Aguirre Darancou Martínez, Ana. Performance in the Zócalo: Constructing History, Race, and Identity in Mexico’s Central Square from the Colonial Era to the Present

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Greek Trilogy of Luis Alfaro: Electricidad, Oedipus El Rey, Mojada ed. by Rosa Andújar Elizabeth Villalobos Andújar, Rosa, ed. The Greek Trilogy of Luis Alfaro: Electricidad, Oedipus El Rey, Mojada. Bloomsbury Publishing, 2021. 295 pp. El libro The Greek Trilogy of Luis Alfaro: Electricidad, Oedipus El Rey, Mojada, editado

In lieu of an abstract, here is a brief excerpt of the content: Remembering George (1934–2010) Those who had the privilege of knowing, studying, or working with George Woodyard may find it difficult to believe that ten years have gone by since he passed on November 7, 2010. For many of us that seems like yesterday. Maybe that is due to lingering denial, our inability to accept that he is gone. Or perhaps

In lieu of an abstract, here is a brief excerpt of the content: Introducción:Las regiones que dejaron de ser artísticamente desiertas: Una exploración de las nuevas perspectivas de las prácticas teatrales coloniales latinoamericanas Catalina Andrango-Walker Este número de Latin American Theatre Review reúne seis artículos dedicados a diversas formas teatrales del periodo colonial latinoamericano. La

Abstract: According to historical accounts of the period, preaching in the Baroque world was meant to be a spectacular event carried out in a theatrical space. Music and stage props were used in order to reinforce the message of the sermon. It was a feast for the senses, with the audience surrounded by sculptures, paintings, and artistic stained glass depicting scenes from the Bible, while the scent

Abstract: One of the most important aims of the viceregal literate community was to contribute to the theological construction and installation of the Virgin Mary in the imagination of the American population. As we see in El amar su propia muerte, dramatist Espinosa Medrano put his pen at the service of this purpose, employing the discursive genres of his time. My analisis of this comedic text focuses

Abstract: In November 1640, at the Colegio de San Pedro y San Pablo in Mexico City, the Society of Jesus offered the newly arrived viceroy of New Spain, the Marqués de Villena, a performance of the Comedia de San Francisco de Borja, written by Matías de Bocanegra. Bocanegra based this piece on the biography of the saint written by Ribadeneyra, particularly the section in which the latter discusses

Abstract: In this article I analyze the sixteenth-century New Spanish Jesuit play Triumpho de los Sanctos, written and performed at the Colegio Máximo de San Pedro y San Pablo in Mexico City as the centerpiece of an eight-day festival to welcome the arrival of a shipment of holy relics from Rome. The play focuses on four early Christian martyrs—saints Pedro, Doroteo, Gorgonio, and Juan—, whose bones

Abstract: In the course of his missionary work in Brazil in the latter half of the sixteenth century, the Jesuit José de Anchieta (1534-1597) authored multiple reports, lyric compositions, and dramatic spectacles about the lives and deaths of martyrs. Martyrdom thus became a consistent theme across his broad and variegated corpus—something in itself unsurprising, given the long history of martyrdom

Abstract: Lettered men, who arrived to the Andean region as missionaries, soldiers, and historians, wrote abundantly about the natives' ceremonies and their remarkable ability to sing and to play musical instruments. Music and performance soon became a standard part of religious conversion as well as a means of reaffirming Spanish power at public events such as the arrival of new officials, the births

In lieu of an abstract, here is a brief excerpt of the content: In MemoriamDeb Cohen (1955-2020) Elaine M. Miller Deb Cohen, Professor Emerita of Spanish at Slippery Rock University in Pennsylvania, passed away suddenly on March 13, 2020. After working in the travel industry, Deb earned her PhD in Spanish from the University of Kansas, where she wrote a dissertation about the plays of Mexican dramatist

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Precarious Forms: Performing Utopia in the Neoliberal Americas by Candice Amich César Barros A. Amich, Candice. Precarious Forms: Performing Utopia in the Neoliberal Americas, Northwestern UP, 2020. 232 pp. What forms of resistance can artistic practices, poetry, and performance art, in particular, stage within a space swallowed

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Staging Frontiers: The Making of Modern Popular Culture in Argentina and Uruguay by William Garrett Acree Elisabeth L. Austin Acree, William Garrett, Jr. Staging Frontiers: The Making of Modern Popular Culture in Argentina and Uruguay. Albuquerque: U of New Mexico P, 2019. 279 pp. Staging Frontiers: The Making of Modern Popular

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Malvinas. La guerra en el teatro, el teatro de la guerra by Ricardo Dubatti, and: Malvinas II. La guerra del teatro, el teatro de la guerra by Ricardo Dubatti Bettina Girotti Dubatti, Ricardo, comp. Malvinas. La guerra en el teatro, el teatro de la guerra. Buenos Aires: Ediciones del CCC, 2017. 226 pp. Dubatti, Ricardo, comp

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Not the Time to Stay: The Unpublished Plays of Víctor Fragoso by Víctor Fragoso David Tenorio Fragoso, Víctor. Not the Time to Stay: The Unpublished Plays of Víctor Fragoso. Edited, translated and with an introduction by Consuelo Martínez-Reyes. New York: Centro Press, 2018. 244 pp. Not the Time to Stay is an anthology featuring

Abstract:At the turn of the twentieth century, the city of São Paulo rapidly transformed into an industrial metropolis. As its population grew, so did the number and variety of theaters. This article compares two government-sponsored auditoriums, the Municipal and Colombo Theaters, to explain how theaters helped urban residents rethink the structure of their changing society. Inaugurated within a few

From Colonial to Post-Colonial times, African rituals and other magical-religious manifestation have become a constant aesthetic resource when it comes to representing Afro-Cubans in the theater. In this essay, I analyze black face theater or teatro bufo to trace pioneer theater plays that employed Afro-Cuban rituals to portray blackness during the 19th century. By examining several plays, especially

La video instalacion Veteranos (2014), la obra de teatro Campo minado (2016) y la pelicula Teatro de Guerra (2018) de Lola Arias forman un corpus de objetos de arte de un genero hibrido que atraviesa y desafia los limites de las artes escenicas y las artes audiovisuales, mientras explora la guerra de Malvinas, librada entre Argentina y Gran Bretana en 1982. Si bien concebidas, escritas y dirigidas

RESUMENEl articulo estudia los dramas El taller (2012) y Liceo de ninas (2016) de Nona Fernandez. Se plantea que las obras piensan el pasado chileno reciente sosteniendose en la premisa actual sobre el supuesto triunfo del proyecto neoliberal de la dictadura militar, pero que hoy en plena postdictadura da forma a una sociedad que no comprende ni resuelve las contradicciones que caracterizan a tal proyecto

In the play El ano en que naci by the Argentine Lola Arias, eleven performers born during the Chilean dictatorship (1973-1990) reconstruct events from that specific historical period and work through the personal impact of those events before the audience’s eyes. Nonetheless, as Marvin Carlson reminds us in The Haunted Stage: The Theater as Memory Machine there is a spectral character in the representation

Resumen Este articulo se propone explicar la consolidacion historica de una cierta forma de produccion de obras en el teatro alternativo en la Ciudad de Buenos Aires. El trabajo sostiene que, en Buenos Aires, el aprendizaje de la actuacion y la formacion de obras se encuentran profundamente entrelazados a partir de ciertos teatros-escuelas organizados en torno a ciertos maestros de renombre, que tambien

Roberto Servin Munoz, el prominente cofundador y exdirector de teatro de Comicos de la Legua, nace en la ciudad de Queretaro en 1941. Estudia Derecho en la Universidad Autonoma de Queretaro donde se lanza a la actividad artistica y comienza su trayectoria en el teatro universitario. La presencia de este actor y director en Comicos de la Legua, la compania de teatro universitario mas antigua de America

Este trabajo se propone comprender las transformaciones de los rasgos medulares del teatro independiente de los 70s en el teatro independiente actual. La experimentacion de los lenguajes, la creacion colectiva, la desjerarquizacion de los modos de produccion y el caracter politico del teatro se han mantenido y recreado. Sostenemos que las continuidades y resignificaciones estuvieron asociadas a que

Abstract:Virgilio Piñera is widely recognized as one of the pioneers of absurdism in Cuba, but his place within the broader global tradition of the Theatre of the Absurd remains contested. Piñera wrote his seminal play Falsa alarma in 1948, prior to the opening of Eugène Ionesco's La cantatrice chauve, but he expanded the text by incorporating a number of prototypically absurd passages on the occasion

In exploring Andres Perez's La huida, staged by him in 2001 after a 25-year process of rewriting the script he wrote in 1975, this essay highlights his strugggle to convey deep personal trauma by narrativizing an undisclosed homofobic state murder perpetrated in Chile in 1929. Semiotic complexity, auto-reflexivity, and metatheatricality are all part of the radical turn that Perez took during this extended

Abstract:This essay approaches the political and historical dimensions of three contemporary experiences of documentary theatre: one from Chile—Ñi pu tremen. Mis antepasados—and the other two from Argentina—Archivo White and Las personas. All three of them brought to the stage not professional actors but rather members of a certain community: respectively, women of mapuche origin, neighbors of the

Abstract:This study presents the life story of Virginia Fábregas, a major diva of Mexico at the start of the twentieth century. The discussion focuses on the following issues: changes in the theatre between the late nineteenth and early twentieth centuries; the artistic life of Fábregas; her theatre; her image of elegance; and her complex and scandalous divorce. Theories of Pierre Bourdieu on distinction

Abstract:This essay contextualizes the queer project undertaken by Argentinian playwright and critic Tulio Carella's alter-ego Lucio Ginarte in the performative narrative that makes up most of his hybrid diary, Orgia (1968; 2011). Ginarte's symbolic, sexualized occupation of Recife's downtown in 1960-1961 foreshadows the queering of public spaces and openly affirms the physicality and presentness of

Abstract:This article examines the "bad woman" archetype of La Llorona and how it has been used to destabilize patriarchal discourses in Chicana theatre. Chicana feminist playwrights appropriate, subvert, and transform La Llorona in such a way as to create discourses of resistance, deploying the female body as a tool for cultural upheaval and using theater practice as a weapon of sociopolitical resistance

Abstract:Concepción is a Chilean city rich in history and culture, home to the legendary Teatro de la Universidad de Concepción (TUC), which was the most active regional university theater during the 1950's and 1960's. Three young, idealistic actors named Gustavo Sáez, Ximena Ramírez, and Julio Muñoz founded the independent theatre company El Rostro in Concepción in 1978. This article traces the historiography

Abstract:This essay establishes a bridge between the process of creating the spectacle Cinco Tempos para a Morte and theatre genetics, using the principles of the latter. This methodological device is used to understand not only the final product (the spectacle), but also the collective creation process (the rehearsals) of the spectacle created and performed between 2010 and 2011 in Porto Alegre, Brazil

Abstract:This article examines Adiós, Ayacucho, an iconic one-actor play by theatre collective Grupo Cultural Yuyachkani, by focusing on the theatrical figure of Qolla, which is proposed here as the emblem of the relationship between liminality and carnival. Adiós, Ayacucho is the story of Alfonso Canepa, an Andean peasant leader who was tortured, partially dismembered, and disappeared by the Peruvian

Abstract:In Angie Cervantes’s Ley seca (2007), seventeen-year-old Eva faces loneliness and social pressure as she seeks an illegal abortion. The play’s setting during Holy Week and use of the Stations of the Cross as its structural framework call attention to the ways in which the weight of the Catholic Church’s moral teachings and their influence on the legal regulation of reproductive rights in contemporary

Abstract:This study argues that Norge Espinosa’s play Ícaros (2003) unpacks the longstanding, post-revolutionary Cuban connections among education, self-aware citizenship, and egalitarian ideals. In a contemporary version of the Icarus myth, Espinosa’s play stages the failed project of an older generation (embodied in three Dédalos) to create a new kind of super being through their offspring—the play’s

Abstract:In this article I review Evelina Fernández’s trilogy of plays, Hope, Faith, and Charity. The trio tells a semi-autobiographical family saga covering nearly one hundred years. Throughout the plays, Fernández addresses big issues in everyday life, using national and international arenas of international politics as a background. Passing through the Mexican Revolution, the Great Depression, WW

If music be the food of love, play on. Give me excess of it that, surfeiting, the appetite may sicken, and so die. That strain again, it had a dying fall. Oh, it came o’er my ear like the sweet sound, that breathes upon a bank of violets, Stealing and giving odor. Enough, no more. ‘Tis not so sweet now as it was before. O spirit of love, how quick and fresh art thou, That, notwithstanding thy capacity

The idea for a scholarly journal devoted to Latin American theatre activities surfaced in 1966 at a faculty party hosted by Cy DeCoster to welcome a new member of KU’s Spanish & Portuguese Department, George Woodyard. At the time, I was an assistant professor of Speech and Drama, and my wife was an instructor of Portuguese. Prior to that, I was at Bowdoin College, where I produced and directed the

The following interview took place at the Grupo Pregones headquarters in the South Bronx, on the 20th of October, 2015, with Rosalba Rolón, Alvan Colón Lespier, and Jorge B. Merced, Associate Artistic Directors. What follows is an in-depth view of the process that took the iconic group from the conventions of the popular (Latin American) New Theatre movement, at the end of the 1970s, to a multi-faceted

The controversial play Orquídeas a la luz de la luna (1982) by Carlos Fuentes revolves around two women named María Félix and Dolores del Río. These characters adopt as their own the stories and urban legends surrounding the two icons of Mexican cinema for whom they are named. María and Dolores are convinced of these “masks,” of this semblance, which sows doubt in the public that recognizes them. Fuentes

This article provides an overview of the origins of contemporary Mexican political cabaret in Mexico City since the 1970s. It takes into consideration the historical and political context of Mexican culture and the relations between countercultural manifestations, contemporary art, para-theatrical spaces, and sexual dissidence. The article also aims to cover the most significant aspects of the incorporation

How should theatrical activity in Colombia acknowledge the country’s violent political life and the thousands of victims of an armed conflict that has lasted for almost six decades? What role should theatre play in the context of human-rights violations and institutional (in) justice to configure a collective memory and history? This study focuses on El deber de Fenster, a documentary drama by Humberto

Historically, theatre has served as a cultural and aesthetic resource for the promotion of ideas, discourses and symbols, as well as for the production and promotion of feelings. In the context of war, the scenic arts can serve to socially and culturally legitimize a national cause through the aesthetic, exemplary representation of opposing sides. In Chile, the War of the Pacific (1879-1883) made possible

This article examines how Manteca by Alberto Pedro Torriente—considered the most popular and polemic Cuban dramatist of his time—conveys the idea that during Cuba’s “Special Period” literary workmanship was homologous to culinary struggles, in part due to the artistic, social, and economic circumstances of the period. The passivity set on stage by the protagonists—three middle-aged siblings forced