Latina/o Canadian Theatre and Performance is a foundational collection of essays establishing the field of Latina/o theatre and performance studies in Canada, showcasing the work of leading and emerging scholars in North America who take a hemispheric perspective in their examination of Canadian “Latinidad.”
Featuring exciting and provocative new essays by leading and emerging scholars in Canada and the US, this foundational collection begins a conversation about Latina/o theatre and performance in Canada. The essays query the contours and characteristics of latinidad in Canada’s performance spaces within a complex network of hemispheric relations and transnational migrations. While the discipline has witnessed a “hemispheric turn” in the study of theatre and performance in the Americas, Canada has had limited inclusion in this body of scholarship. In their examinations of the groundbreaking work of companies and artists such as Alberto Kurapel, Guillermo Verdecchia, Carmen Aguirre, Aluna Theatre, and PUENTE Theatre, these essays invite us to think more inclusively about the hemisphere and the plurality of the Americas that lie beyond US borders.
Contributors include: Natalie Alvarez, Alicia Arrizón, Hugh Hazelton, Ric Knowles, Martha Nandorfy, Jimena Ortuzar, Jeannine M. Pitas, Pablo A. Ramirez, Jessica Riley, Ramón H. Rivera-Servera, Tamara Underiner, and Guillermo Verdecchia.
|Publisher:||Theatre Communications Group|
|Product dimensions:||6.00(w) x 8.90(h) x 0.80(d)|
About the Author
Natalie Alvarez is an associate professor at Brock University’s Department of Dramatic Arts where she teaches in the Theatre Praxis concentration. Her work on contemporary performance, performance theory, and Latina/o theatre has appeared in a number of periodicals such as Theatre Journal , Journal of Dramatic Theory and Criticism , and Janus Head , as well as in national and international essay collections. Her current SSHRC- funded book project, Enactments of Difference , examines simulations, interculturalism, and performance in military training and dark tourism. She also serves as co-editor of the Canadian Theatre Review ’s Views and Reviews.
Table of Contents
General Editor's Preface Ric Knowles iii
Latina/o Canadian Theatre and Performance: Hemispheric Perspectives Natalie Alvarez 1
Martha Chaves's "Staying Alive" Narrative: Comedy, Migration, and Feminism Alicia Arrizón 17
Aluna Theatre's Nohayquiensepa: The Intermedial Intercultural and the Limits of Empathy Jessica Riley Ric Knowles 36
"Living Between Two or More Cultures": On the Political Interventions of PUENTE's Community-Engaged Theatre Tamara Underiner 64
Houses of Corn and Full Inclusion: On Latina/o Community-Based Theatre in Toronto Jeannine M. Pitas 87
The Bilingual Performance Theatre of Alberto Kurapel Hugh Hazelton 109
Moving from Realism to Hip-Hop Real: Transnational Aesthetics in Canadian Latina/o Performance Ramón H. Rivera-Servera 133
From Abyssal Thinking to Loving Imagination in The Terrible But Incomplete Journals of John D by Guillermo Verdecchia Martha Nandorfy 151
Hasta La Victoria Siempre! The Persistent Memory of Revolutionary Politics in the Plays of Carmen Aguirre Guillermo Verdecchia 179
Restaging, Reframing, Remembering: The Role of Collective Memory in Guillermo Verdecchia's Fronteras Americanas Pablo Ramirez 200
Performing Imaginary Homelands Jimena Ortuzar 223
Works Cited 246
Notes on Contributors 265