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The State of Latino Theater in the United States
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
Latin American Women On/In Stages
While a feminine perspective has become more common on Latin American stages since the late 1960s, few of the women dramatists who have contributed to this new viewpoint have received scholarly attention. Latin American Women On/In Stages examines twenty-four plays written by women living in Argentina, Brazil, Chile, Costa Rica, Mexico, Puerto Rico, and Venezuela. While all of the plays critique the restraints placed on being female, several also offer alternatives that emphasize a broader and healthier range of options. Margo Milleret, using an innovative comparative and thematic approach, highlights similarities in the techniques and formats employed by female playwrights as they challenged both theatrical and social conventions. She argues that these representations of women's lives are important for their creativity and their insights into both the personal and public worlds of Latin America.
Jarocho's Soul
Brown-skinned men and women dance Jarocho across the cultural landscape of Mexican stages and festival grounds. Jarocho's Soul traces the development of an Afro-Mexican dance style and contrasts Mexican performance of mixed race identity with United States ethnic art performances.
Latina Performance
"Latina Performance is a densely theorized treatment of rich materials." --MultiCultural Review "Arrizón's important book revolves around the complex issues of identity formation and power relations for US women performers of Latin American descent." --Choice Latina Performance examines the Latina subject whose work as dramatist, actress, theorist, and/or critic further defines the field of theater and performance in the United States. Alicia Arrizón looks at the cultural politics that flows from the intersection of gender, ethnicity, race, class, and sexuality.
José, Can You See?
"Alberto Sandoval-Sanchez is among the most interesting and original minds at work in performance studies and American studies. José, Can You See? is a landmark achievement, an important contribution to 20th century American cultural history. Quite simply, there is no other critic of Latino popular culture who speaks with so much wisdom and wit, so much eloquence and expertise."--David Roman, University of Southern California
Finished from the Start and Other Plays
The trilogy Funeral Drums for Lambs and Wolves includes Isabel Banished in Isabel, the monologue of a woman left to go mad alone; Without Apparent Motive, the monologue of a murderer lamenting the spread of violence; and The Guest, or Tranquility Is Priceless, a confrontational dialogue that speaks directly to the spectators, implicating them for their silent, passive tolerance of Pinochet. The title play, Radrigan's 1981 masterpiece, speaks directly to the specter of the disappeared."--Jacket.
Marginality Beyond Return
This study is an exploration of US Cuban theatrical performances written and staged primarily between 1980 and 2000. Lillian Manzor analyzes early plays by Magali Alabau, Jorge Ignacio Cortiñas, María Irene Fornés, Eduardo Machado, Manuel Martín Jr., and Carmelita Tropicana as well as these playwrights’ participation in three foundational Latine theater projects --INTAR’s Hispanic Playwrights-in-Residence Laboratory in New York (1980-1991), Hispanic Playwrights Project at South Coast Repertory Theater in Costa Mesa, CA (1986-2004), and The Latino Theater Initiative at Center Theater Group's Mark Taper Forum in Los Angeles (1992-2005). She also studies theatrical projects of reconcili...
Cuban Studies 35
Cuban Studies has been published annually by the University of Pittsburgh Press since 1985. Founded in 1970, it is the preeminent journal for scholarly work on Cuba. Each volume includes articles in both English and Spanish, a large book review section, and an exhaustive compilation of recent works in the field.
Theatre and Cartographies of Power
Contributors -- Index -- Series Page -- Other Titles in the Series -- Back Cover
The Routledge Companion to Theatre of the Oppressed
This dynamic book offers a comprehensive companion to the theory and practice of Theatre of the Oppressed. Developed by Brazilian director and theorist Augusto Boal, these theatrical forms invite people to mobilize their knowledge and rehearse struggles against oppression. Featuring a diverse array of voices (many of them as yet unheard in the academic world), the book hosts dialogues on the following questions, among others: Why and how did Theatre of the Oppressed develop? What are the differences between the 1970s (when Theatre of the Oppressed began) and today? How has Theatre of the Oppressed been shaped by local and global shifts of the last 40-plus years? Why has Theatre of the Oppres...
