Reviewed by: Theatre and Cartographies of Power: Repositioning the Latina/O Americas ed. by Jimmy A. Noriega and Analola Santana Eric Mayer-García THEATRE AND CARTOGRAPHIES OF POWER: REPOSITIONING THE LATINA/O AMERICAS. Edited by Jimmy A. Noriega and Analola Santana. Theater in the Americas series. Carbondale: Southern Illinois University Press, 2018; pp. 320. 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...