Reviewed by: Latinx Theater in the Times of Neoliberalism by Patricia A. Ybarra Guillermo Aviles-Rodriguez Latinx Theater in the Times of Neoliberalism. By Patricia A. Ybarra. Northwestern University Press, 2018. Cloth $99.95, Paper $34.95, eBook available. 247 pages. 8 Illustrations. Given the dearth of monographs dedicated to theatrical performances about and from a Latin American perspective, Latinx Theater in the Times of Neoliberalism by Patricia A. Ybarra is a welcome contribution to a significant but underexplored topic in theatre and performance studies scholarship. Through both outlines and close readings of plays and performances by playwrights with Latin American and Caribbean heritage from the early 1990s to the 2010s, Ybarra positions neoliberalism and the disgruntlements it breeds in the context of what she calls "Latinx Theater." Ybarra embraced the term "Latinx" before it became normalized; and although some ethnic studies scholars still find it hasty nomenclature, for Ybarra "Latinx" signals "a gender neutral cultural signifier" that enables her to be "truly inclusive of all genders of persons of Latin American cultural identity without resorting to a gender binary" (x). Indeed, the text eschews many normative narratives and concepts, instead opting to challenge long-established conventions and perspectives in favor of expanding new ways of knowing. Ybarra revisits more than twenty plays and productions, many of which have not always attained critical success, and some of which have received negative reviews. In this way the text offers a generous reading of these works, an endeavor consistent with a wholehearted commitment to the championing of dramatic works historically silenced by conquest and imperialism. Ybarra's theoretical approach is eclectic, drawing from a variety of fields in subaltern studies, thus expanding her work's accessibility to all interested in critical practices and the use of dramatic texts and performances as a method of sociopolitical analysis. By strategically selecting plays that push against "the conditions they are describing" (17) Ybarra provides an opportunity for readers to learn about dramatic works that are searching for new ways to stage "the destruction and denigration caused by savage capitalism" (ix). Organized into four loosely related foci, the four chapters explore indigeneity, the Cuban Special Period, femicide, and the narcoguerra (drug war) along the US Mexico border in the 1980s. Latinx Theater begins with a Preface, Critical Introduction, and first chapter dedicated primarily to an analysis of Chicana feminist Cherríe Moraga's work, and favorably covers four of Moraga's plays, along with her pivotal "Queer Aztlan" essay. As the text shifts into the first chapter, "'Never Any Other Time but This Time No World but This World,' or Staging Indigeneity in Neoliberal Times," the book shifts to featuring scholars who have called for an undoing of "the colonial and imperial governmentalities and theoretical paradigms that have created racialized gendered, and sexed identities that separate people" (30). The chapter goes on to touch on the work of Luis Valdez and El Teatro Campesino, [End Page 155] along with that of Michael John Garcés, which convey, to one extent or another, "how memory, identity, and selfhood are experienced affectively in the midst of crisis and 'after' it" (71). In chapter 2, "Havana Is (Not) Waiting: Staging the Impasse in Cuban American Drama about Cuba's Special Period," Ybarra highlights "mobility as a mode of self-definition" (76) and traces this idea through the plays of Jorge Cortinas, Nilo Cruz, María Irene Fornés and Eduardo Machado, culminating in relating migrants' immobility not to "stillness," but to "ineffective motion" (93). Many of the plays in this chapter deal with the Cuban rafter crisis or literally take place—as in the case of Cruz's Bicycle Country—on rafts at sea, where motion is largely perpetual, inhibited, and untamable. Ybarra's analysis stresses the cruelty of neoliberalism's promise of the American Dream, which for many characters in the plays discussed comes only in sleep. Chapter 3, "Neoliberalism Is a Serial Killer," examines plays that challenge the seemingly unchecked femicide in Juarez, Mexico. Playwrights such as Victor Cazares, Coco Fusco, Marisela Trevino Orta, and Caridad Svich all provide Ybarra with an opportunity to juxtapose the use of nonrealistic representations of violence with testimonio or first-hand...
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