Latin American Theatre Research Articles

Circulación de teatro y diplomacia cultural en el Río de la Plata

La cultura, entendida como pilar para el desarrollo de los Estados, además de un motor de crecimiento es una forma de vincularse con otras naciones. En este sentido, el arte materializa la cultura a través de sus lenguajes. De ellos, el escénico es el que mejor populariza la identidad cultural de quienes habitan el Río de la Plata hacia el exterior. El objetivo principal de esta ponencia es analizar la circulación teatral entre la Ciudad de Buenos Aires y Montevideo. El objetivo secundario, mensurar esa circulación para poder cuantificarla.
 Se propone abordar la problemática circunscribiendo el análisis a 2010-2017 puesto que es el período en que se produjo la profundización ideológica en ambos países de gobiernos de centroizquierda y parte del cambio de gobiernos. De este modo, se podrá observar, a través de la obtención de indicadores y el análisis de contenido de algunos tratados y acuerdos puntuales que se han suscripto entre los Estados así como la circulación teatral en términos cuantitativos.
 De esta manera, al comprender la circulación de teatro y la diplomacia cultural como variables, se procura relevar si en la práctica se genera el ámbito propicio para poder concebir una diplomacia cultural conjunta entre ambas ciudades. Asimismo, se espera analizar la incidencia de la denominada diplomacia cultural en la circulación teatral entre ambas ciudades. Profesionalmente, se observan casos de estudio interesantes, como la Movida Teatral de las dos Orillas o el Corredor Latinoamericano de Teatro, como ejemplos de esta acción cultural. No obstante, queda por ver en qué medida las políticas culturales de los gobiernos locales incentivan este tipo de prácticas. Por lo tanto, se busca encontrar el vínculo entre praxis y relaciones interculturales a una pequeña escala (ciudad-ciudad) para analizarlas.

Thinking East and West in Nuestra América: Retracing the Footprints of a Latinx Teatro Brigade in Revolutionary Cuba

Thinking East and West in Nuestra AméricaRetracing the Footprints of a Latinx Teatro Brigade in Revolutionary Cuba Eric Mayer-García (bio) The photographs in self-described Chicana cultural worker Ana Olivarez-Levinson’s private collection provide new visual documentation of the transnational exchange that propelled Nuevo Teatro, a theatre movement during the 1970s and 1980s that sought to create a distinct Latin American expression in defiance of Eurocentric cultural hierarchies and the hemispheric domination of the United States.1 Her photographs (a selection of which appear in the Mayer-García and Olivarez-Levinson photo essay in this volume) document important meetings, workshops, and performances as well as the lives of the artists happening around those events. For instance, several photos in her collection show a cookout in a park when Chicanx collective Teatro de la Esperanza hosted Cuban collective Grupo Teatro Escambray in Santa Barbara in 1982.2 Taking a break from the hectic tour schedule gave Chicanx cultural workers and Cuban teatristas (theatre artists) the space to build relationships. Photos show the artists on picnic tables overlooking a bluff. They enjoy a meal together, listen carefully to the conversation, and play music on a guitar. One photo shows an artist stretched out on a reclining folding chair not far from a portable radio sitting on one of the tables. In a large group photo, about twenty cultural workers and teatristas gather around another dozen laying and sitting on blankets in the grass. Some people look up and smile toward the camera (see the Olivarez-Levinson and Mayer-García photo essay).3 Others break from their poses and turn in toward each other, laughing, smiling, and reflecting. The larger circle is made up of smaller orbits of [End Page 140] intimacy, friendship, and familia. The image captures a microcosm of the Nuevo Teatro movement and the transnational bonds upon which it was built.4 In this regard, the cookout was just as important to the movement as performances or formal workshops. The personal collection and the personal touch of moments like the cook-out point up the ways that affect both organizes and preserves knowledge often disregarded in the institutional collection. One important case in point is Olivarez-Levinson’s records of the East and West Coast Teatro Brigade, a three-week visit to Cuba by thirty Latinx theatre artists in August 1981.5 The East and West Coast Teatro Brigade is exemplary of the transcontinental interchange happening between Puerto Rican, Chicanx, and other US-based Latinx artists via Latin American theatre.6 In this regard, the Teatro Brigade is important because it adds to our understanding of the ongoing emergence of a coordinated, panethnic Latinx theatre in the United States during this period, which, as “East and West Coast” suggests, mobilized a west-east sense of the hemispheric that contrasts with the more ubiquitous orientation of south-north. Because her experience as a participant in this cultural exchange meant so much to Olivarez-Levinson and her development as a cultural worker, she kept detailed records of the event. As a testament to the importance of personal collections made by artists, we might not have records of the Teatro Brigade without Olivarez-Levinson’s careful archiving.7 In this essay, I analyze the fragmented archives of two US-based collectives that were active in promoting exchange among Nuevo Teatro artists: Teatro 4 (Teatro Cuatro), which was founded in 1974 to address the social and economic injustice facing Latinxs and African Americans living in the area surrounding Fourth Street between Avenues A and B in the Lower East Side, and Teatro de la Esperanza, which formed at UC Santa Barbara in 1971, made theatre by, about, for, near, and with Chicanx communities throughout California, and eventually relocated to San Francisco in the 1980s.8 I concentrate on these groups’ ongoing exchange with Nuevo Teatro artists in revolutionary Cuba during the 1980s. Particularly, I focus on materials in the personal collection of Olivarez-Levinson, a former member of Teatro de la Esperanza who completed her formal theatre training in Cuba as a result of Esperanza’s ties to Grupo Teatro Escambray.9 The Cuban Ministry of Culture...

The Vanishing Frame, Latin American Culture and Theory in the Postdictatorial Era by Eugenio Claudio Di Stefano

The Vanishing Frame, Latin American Culture and Theory in the Postdictatorial Era by Eugenio Claudio Di Stefano

Gestures toward a Hemispheric Theatre History: A Work in Progress

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...

The Persistence of the Transcultural: A Latin American Theory of the Novel from the National-Popular to the Global

This essay engages with the questions of the global novel and the so-called theory of the novel from the perspective of Latin American literary theory. The first section of the essay departs from Roberto Fernández Retamar's arguments about literary theory to discuss the importance of understanding the location of theory, and the way it makes objects like the global novel thinkable solely from the perspective of the (dis)alignments of Latin America with the world system and world literature. Second, the text engages in a discussion of Ángel Rama's theories of transculturation and the national-popular novel to argue that the region's theoretical legacies were built in tension to the global and the type of writing we now call world literature. Finally, the third section unfolds this debate through the contrast of the two most important Mexican novels of the turn of the twenty-first century: Daniel Sada's Porque parece mentira la verdad nunca se sabe and Jorge Volpi's In Search of Klingsor.

Los hilos de la memoria: tejiendo las narrativas de los centros textiles en México y Perú

With the emergence of the “centros textiles” at the end of the last century in Peru and in Mexico, such as museums where some weavers have been integrated as part of some of their intercultural teams, the discourse of canonical art have begun to be questioned, specially, those referring to folk art and art created by women. With an approach constructed on the Latin American Theory of Folk Art and an ethnographic work that includes testimonies and interviews with the weavers who work in the “centros textiles”, the purpose of this article is to reflect on how the voices of the weavers are acknowledged in places where they have been historically expelled. Thus, the possibility for the creation of more complete narratives from their collective memory opens.

Teatro e direito à memória

O presente trabalho procura refletir sobre a prática artística de dois grupos teatrais latino-americanos, o Grupo Cultural Yuyachkani (Peru) e a Tribo de Atuadores Ói Nóis Aqui Traveiz (Brasil). Busca analisar o compromisso ético e político assumido pelos coletivos com a defesa dos Direitos Humanos, ao lidar com a memória e traumas do passado, como o conflito armado interno no Peru ou a ditadura civil-militar no Brasil.

Comparatismo latinoamericano: una teoría cultural entre lo comarcano y lo supranacional

El artículo postula el desarrollo de una teoría y un método comparatista para estudiar la literatura y la cultura latinoamericanas, en vista de las insuficiencias y las pretensiones de los enfoques que proceden de las academias centrales y mantienen la dependencia de América Latina. El comparatismo propuesto articula la dimensión comarcana, que despunta en los escritos de Ángel Rama y permite organizar segmentos dentro de la cultura continental, y la dimensión supranacional que aspira a operar como síntesis respecto de los abordajes transnacionales. Además de establecer los principios de este comparatismo que se aparta de la formulación clásica del método e incorpora teorías propiamente latinoamericanas, el texto desarrolla un ejemplo puntual de ejercicio comparatista, focalizado sobre una de las mayores urgencias de integración dentro de América Latina: el Caribe francés.

Memory, Transitional Justice, and Theatre in Postdictatorship Argentina by Noe Montez

Reviewed by: Memory, Transitional Justice, and Theatre in Postdictatorship Argentina by Noe Montez Curtis Russell MEMORY, TRANSITIONAL JUSTICE, AND THEATRE IN POSTDICTATORSHIP ARGENTINA. By Noe Montez. Theater in the Americas series. Carbondale: Southern Illinois University Press, 2018; pp. 262. To engage with Latin American theatre and performance in the late twentieth and early twenty-first centuries is often to engage with dictatorship and its aftershocks. Noe Montez’s Memory, Transitional Justice, and Theatre in Postdictatorship Argentina is the latest entry in this rich field, which explores the complex responses of theatre artists to the privations and abuses sustained under authoritarian regimes, [End Page 122] and the inevitably chaotic processes of re-democratization that follow. Montez calls transitional justice the “practice of responding to human rights violations and state-sanctioned violence through governmental action” (5). He positions himself in a genealogy of scholars of Latin American performance, including Catherine Boyle, Ana Elena Puga, Diana Taylor, and Jean Graham-Jones, whose seminal Exorcising History: Argentine Theatre under Dictatorship is perhaps the clearest precursor to his study. While Graham-Jones’s monograph (and the majority of recent scholarship on Argentine performance) focuses on theatre in Buenos Aires during the years of “the Process” (1976–83) and its immediate aftermath, Montez’s looks exclusively at “the works of playwrights who began their careers in the 1990s or later . . . trac[ing] the artistic lineage of Argentine playwriting practices and explor[ing] the ways the dictatorial past continues to inform and shape the theatrical creation of artists who have come of age and built their careers in a time of transitional justice” (13). Montez examines specific performances and theatre-makers, but his goal is to demonstrate the processual nature of memory work and its imbricative relationship with theatre: “neither transitional justice policies nor memory narratives remain static, but . . . they continually evolve, and theatrical performances can intervene in the process of creating social and political change” (16). Montez’s theoretical framework is largely semiotic, assessing “specific choices in directing, design, and performance, in addition to the text” (13), as well as venue, to gain as complete a picture as possible of each performance event. He contrasts this approach with several recent studies by Spanish language and literature scholars that often ignore the material realities of production in favor of the text. Yet, Montez takes pains to historicize the performances as well to help the reader understand how they respond to “government-enacted memory narratives” (9). He acknowledges that this approach risks exaggerating the political impetus for each production, but deems it necessary to make his study accessible to a wide readership not necessarily familiar with Argentine political and social history. Chapter 1, “Resisting the Menem Administration’s Narratives of Reconciliation and Forgetting,” looks at four deconstructive ripostes, inspired by the European avant-garde, to official state actions of memory and reparation during the 1990s and early 2000s: El Periférico de Objetos’s Máquina Hamlet, adapted from Heiner Müller’s Hamletmachine; Martha Stutz by Javier Daulte; Marcelo Bertuccio’s Señora, esposa, niña y joven desde lejos; and Los murmullos by Luis Cano. Although the works vary stylistically, from the extreme puppet violence of Máquina Hamlet to Bertuccio’s “static staging and linguistic aphasia” (46), they are united in their desire to not so much subvert the Menem administration’s strategies of transitional justice (for example, pardons for officers of the regime) as to oppose “the very nature of state-sanctioned political discourses and the political capital that must be exerted to uphold them” (24). Chapter 2 considers plays that premiered as part of Teatroxlaidentidad (Theatre for identity), which began as a single performance event sponsored by the Grandmothers of the Plaza de Mayo in 2000, but has grown into a major festival and performance workshop. The Grandmothers enact cultural productions to educate the public about the importance of transitional justice policies based on blood relationships instead of presidential pardon. This work grows directly out of their primary mission, using forensic science and DNA testing to reunite biological families with their children who were taken from their “disappeared” mothers as newborns during the Dirty War to be raised by families sympathetic to the...

Freak Performances: Dissidence in Latin American Theater by Analola Santana

Freak Performances: Dissidence in Latin American Theater by Analola Santana

Materiales para una estética de la marginalidad: pornomiseria, signos marginales y subjetividad

El presente artículo explora algunos principios teóricos que puedan servir como contribución para una posible estética de la marginalidad. Para ello, tras delimitar lo que se comprenderá por marginalidad en el contexto de la teorización latinoamericana reciente, se abordará, en primer lugar, aquello que los realizadorescolombianos Luis Ospina y Carlos Mayolo denominaronpornomiseria, en tanto noción epistémico-crítica fundamental. Más adelante, se tratará la cuestión de los signos marginales y su recepción a luz de la experiencia en cierta territorialidad del Chile contemporáneo, específicamente en periferias de la ciudad de Santiago. Finalmente, se concentrará en las implicancias que el proyecto de una estética de la marginalidad tiene para la construcción de identidades políticas This article explores some theoretical principles that can serve as a contribution to a possible aesthetics of marginality. For this, the information refers to the marginality in the context of the recent Latin American theory, and it is addressed, in the first place, what the Colombian filmmakers Luis Ospina and Carlos Mayolo called pornomisery, as a fundamental epistemic-critical notion. Later, the issue of marginal signs and their reception will be addressed in light of the experience in a certain territoriality of contemporary Chile, specifically, in the peripheries of Santiago. Finally, it will focus on the implications that the project of an aesthetics of marginality has for the construction of political identities

Racialización de actores latinoamericanos y africanos en la industria cultural de Madrid y el ilusorio blanqueamiento de <em>lo español</em>

Este artículo corresponde a la investigación doctoral con organizaciones teatrales de latinoamericanos y africanos en Madrid. Los resultados de este estudio destacan dos cuestiones fundamentales: 1) sujetos diferenciados bajo la postcolonialidad se representan en los medios de comunicación, en películas y series televisivas mayoritariamente desde formas racializadas y sexualizadas. 2) Estos mismos sujetos no cesan de responder a estas representaciones dominantes y de buscar espacios alternativos para expresar sus capacidades creativas más allá de estos prototipos racialmente diferenciados e inferiorizados. Como respuesta, actores de procedencia latinoamericana crean alianzas con actores africanos en la compañía teatral Entrecalles, donde generan resistencia. La unión dará lugar a la articulación de una identidad cultural y política bajo nomenclaturas que son cambiantes y re-articulables bajo signos contingentes como latinoamericano e inmigrante. Como argumento, la racialización de estas personas y su representación mediática alude además a un enraizado ilusorio blanqueamiento por el que se ha construido España como nación.

50 Years of “Seven Erroneous Theses about Latin America”: Perspectives and Challenges for Latin American Theory and Practice

50 Years of “Seven Erroneous Theses about Latin America”: Perspectives and Challenges for Latin American Theory and Practice

The Theater of Revisions in the Hispanic Caribbean by Katherine Ford

Reviewed by: The Theater of Revisions in the Hispanic Caribbean by Katherine Ford Camilla Stevens Ford, Katherine. The Theater of Revisions in the Hispanic Caribbean. New York: Palgrave Macmillan, 2017. 219 pp. The Theater of Revisions in the Hispanic Caribbean by Katherine Ford argues that twentieth-century playwrights from the Spanish-speaking Caribbean repeatedly return to previous narratives to rewrite them, a process that contributes to the construction of national and regional identities. Ford's literary and cultural study usefully places in dialogue twelve dramatic texts written and performed between 1941 and 1994 in Cuba, the Dominican Republic, and Puerto Rico and frames this wide-ranging corpus with theories on adaptation, intertextuality, palimpsest, and archive. Only a handful of the plays have received notable criticism, thus the book constitutes a welcome contribution to Latin American theatre studies. Ford's assertion that inherent in all writing is the act of revision and that the collective nature of the theatre endeavor uniquely positions it for the analysis of multiple forms of revision—whether it be the theme of rewriting mythical narratives or the process of producing the written script, or the activity of rehearsal and feedback from the audience—is convincingly exemplified throughout the book. The introduction (chapter 1) outlines the literary theories (Derrida, Genette, Hutcheon, Kristeva, Cixous) that support her study's examination of the role of rewriting in Hispanic Caribbean theatre. Importantly, Ford also touches upon theatre and performance theories proposed by Boal, Brecht, and Taylor, as well as key literary studies of the archival, foundational, and memorial impulse in Latin American letters (González Echevarría, Sommer, Quiroga). Finally, the introduction historically and culturally contextualizes the act of rewriting in the region by discussing the scripts of the Spanish Reconquista, the conquest of the New World, and the invention of new myths such as the Virgen de la Caridad del Cobre. The study is organized in chapters that address collective creation and audience feedback, ancient Greek theatre, Christianity, and national historical myths. Chapter 2 considers collaborative rewriting in three published versions of El paraíso recobrao (1978) by the Cuban group Teatro Escambray. Along with the dramatic texts, notes and a transcript of the dialogue between the theatre practitioners and the community help Ford show how revising and rewriting in this case serves to hone a pro-revolutionary message meant to guide an isolated community that was slow to integrate with the Revolution of 1959. Chapter 3 examines the influence of Greek theatre in the most widely acclaimed Cuban, Puerto Rican, and Dominican works included in the book: Electra Garrigó (1941) by Virgilio Pinera, La pasión según Antígona Pérez (1968) by Luis Rafael Sánchez, and Lisístrata odia la política: obra teatral en tres actos inspirada en un tema de Aristófanes (1981) by Franklín Domíngez. Ford posits that the authors appropriate ancient Greek theatre to make visible their local theatre tradition's place in the Western tradition while at the same time challenging the canon of global theatre by expanding it. In chapter 4 the author turns to the use [End Page 226] of Christian myths and imagery and offers readings of La noche (1994) by Abilio Estévez (Cuba), ¡Hágase la mujer! (1987) by Juan Carlos Campos (Dominican Republic/Spain), and De tanto caminar: Auto alegórico en tres cuadros (1961) by Piri Fernández (Puerto Rico) that highlight how the recurring theme of doubt destabilizes the preponderance of Catholicism in the cultures of the Hispanic Caribbean. Biblical stories and religious symbols are revised in these plays to challenge certainty and generate an interrogative space for their audiences. In similar fashion, in chapter 5, revisioning nineteenth-century historical figures and myths in La invasión (1970) by Manuel Méndez Ballester (Puerto Rico), Plácido (1981) by Gerardo Fulleda León (Cuba), and Andrómaca (1983) by Ivan García Guerra (Dominican Republic) facilitates reflection on the interplay of race, gender, and political status in the collective identity of these nations. The book ends with a sixth chapter on the rewriting and reception of Abelardo Estorino's plays, La dolorosa historia del amor secreto de don José Jacinto...

Flujos metodológicos desde el Sur latinoamericano. La zona de la comunicación y las Metodologías Horizontales

En este artículo, dar vuelta al mapa implica rediseñar las representaciones del poder. Invertir la tradicional visión de los flujos de pensamiento para colocar, de otro modo, la investigación en comunicación y cultura, visibiliza un conjunto de investigaciones que vienen del Sur y que han dado forma a un pensamiento latinoamericano que desarrolla sus propias teorías y metodologías. La historia de los flujos de las teorías latinoamericanas se actualiza en este artículo, con las Metodologías Horizontales como propuesta para construir nuevo conocimiento en comunicación y cultura.

Apuntes para una teoría de la traducción latinoamericana

¿Hay una teoría latinoamericana de la traducción? ¿Cuál es su contenido? Esta nota se aproxima a estas preguntas desde la historia. Primero, identifica la “necesidad latinoamericana” de la traducción que surge con los Estados nación, especificándola comparativamente con el debate inicial de la teoría de la traducción occidental moderna en Alemania a principios del siglo xix. Luego, rastrea diversos usos posteriores de la traducción en que esta funciona como procedimiento de búsqueda identitaria. Por último, se detiene en el debate entre Arguedas y Cortázar de fines de los años sesenta que saca a la luz la tensión que subyace a la teoría latinoamericana de la traducción. La nota concluye que una función principal de la traducción en América Latina es, según observamos en el debate y en la historia, asignar extranjerías como mecanismo de autodefinición cultural.

Territories in contestation: relational power in Latin America

ABSTRACTTerritories in contestation: relational power in Latin America. Territory, Politics, Governance. Situated in geography’s recent territorial (re)turn, and drawing on Latin American theory and research, this paper examines the relational and contested nature of territories and territorial praxis. Engaging with contemporary literatures, we note the centrality of power to territory. However, as we explore in this paper, many analyses of power are too simplistic, with a latent attachment to sovereignty which can marginalize counter-hegemonic territorial politics. To combat this we explore two conceptions of power, as found in open and autonomist Marxism – poder (understood as power over) and potencia (understood as power to) – and how they function territorially. While such an understanding of power frames the complex production of territories, it is important to also reflect on how movements intervene in producing their own territories. Accordingly, the paper examines the territorial struggles of the Zapatistas, and, drawing from original research, explores how territorial ideas operate in everyday contexts in Buenos Aires, Argentina. Across these examples the paper illustrates the potential of ‘territories in resistance’, but also engages in how these are also contested. Led by our cases we emphasize the relational and contested construction of territory, ultimately developing a more nuanced understanding of territory and territorial praxis.

Teorías de la disidencia sexual: de contextos populares a usos elitistas. La teoría queer en América latina frente a las y los pensadores de disidencia sexogenérica

<p>Este artículo pretende poner a debate el uso de la teoría <em>queer </em>como herramienta teórica para pensar las disidencias sexogenéricas frente a una serie de autoras y autores latinoamericanos que han reflexionado acerca de dicha disidencia, desde su interseccionalidad con raza, clase y espacios geográficos. Estas autoras y autores han desarrollado un corpus literario y una producción teórico social que reflejan, no sólo posiciones, sino estrategias para resistir y construir relaciones distintas entre sectores sociales. Sería posible hablar, de tal forma, de una teoría de la disidencia sexual latinoamericana surgida desde contextos populares frente a los usos elitistas que se dio a la teoría <em>queer </em>en América latina.</p>

El posmarxismo como clave de lectura de la crítica e historia literarias latinoamericanas: el caso de José Carlos Mariátegui

El presente trabajo se propone explicitar la necesidad efectuar lecturas de inspiración posmarxista de la teoría, la crítica, la historiografía y las historias de la literatura latinoamericanas con miras al establecimiento de una tradición de diversas vertientes que, tejidas de continuidades, discontinuidades y rupturas, ha apostado a la construcción de un pensamiento latinoamericano en torno al fenómeno estético-literario y cuyo objetivo ha sido el de participar en la configuración democrática y pluralista en los ámbitos políticos y culturales del Continente.

The Serendipity Tango: "Volume 1, Number 1"

Marking the anniversaries of the founding of Latin American Theatre Review and Modern Drama as well as the Journal of Dramatic Theory and Criticism, this personal essay looks back on the experience of studying theatre at the University of Kansas in the 1960s and learning the importance of serendipity in research projects in the performing arts. It also looks forward to the immediate future of the field by profiling new and forthcoming books derived from dissertations written by members of the Performance Studies Working Group at Yale. Topics addressed include the archival and oral recovery of past performances, critical genealogies of raced and queered identities, the development of modern notions of celebrity and subject-formation in the eighteenth-century theatre, the reactionary avant-garde, and the importance of surveillance and confession in contemporary mediated performance.