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"An invaluable resource to teachers of Latin American theater, with
texts that provide an accurate panorama of Latin American
theater." "A most welcome and needed collection . . . Not only is it the
first English-language anthology of theater and performance in
Latin America from the Conquest onward, but it also includes
excellent introductory and background material . . . certain to
become an essential source book." "A rich resource for teachers and students, and for everyone
intrigued by the history of performing Latin America . . . Diana
Taylor and Sarah Townsend locate an animating tension between
indigenous and colonial performance practices, and between the
irreducibly local character of performance and the insistent
pressure---as visible in the sixteenth century as in the
twenty-first---of a globalizing, often oppressive modernity." "Stages of Conflict" brings together a vast array of dramatic texts, ambitiously tracing the intersection of theater and social and political life in the Americas over the past five centuries. Including eighteen works faithfully translated into English, the collection moves from a sixteenth century Mayan dance-drama to a 2003 production by the first published indigenous playwright in Mexico. Historical pieces from the sixteenth century to the present highlight the encounter between indigenous tradition and colonialism, while contributions from modern playwrights such as Virgilio Pinero, Jose Triana, and Denise Stolkos take on the tumultuous political and social upheavalsof the past century. The editors have added comprehensive critical commentary that details the origins of each play, affording scholars and students of theater, performance studies, and Latin American studies the opportunity to view the history of a continent through its rich and diverse theatrical traditions. Diana Taylor is Director of The Hemispheric Institute of Performance and Politics (http: //hemi.nyu.edu/eng/about/index.shtml) and Professor of Performance Studies and Spanish at New York University. Her books include the award-winning volume "The Archive and the Repertoire: Performing Cultural Memory in the Americas," Sarah J. Townsend is a doctoral student at New York University.
"An invaluable resource to teachers of Latin American theater, with
texts that provide an accurate panorama of Latin American
theater." "A most welcome and needed collection . . . Not only is it the
first English-language anthology of theater and performance in
Latin America from the Conquest onward, but it also includes
excellent introductory and background material . . . certain to
become an essential source book." "A rich resource for teachers and students, and for everyone
intrigued by the history of performing Latin America . . . Diana
Taylor and Sarah Townsend locate an animating tension between
indigenous and colonial performance practices, and between the
irreducibly local character of performance and the insistent
pressure---as visible in the sixteenth century as in the
twenty-first---of a globalizing, often oppressive modernity." "Stages of Conflict" brings together a vast array of dramatic texts, ambitiously tracing the intersection of theater and social and political life in the Americas over the past five centuries. Including eighteen works faithfully translated into English, the collection moves from a sixteenth century Mayan dance-drama to a 2003 production by the first published indigenous playwright in Mexico. Historical pieces from the sixteenth century to the present highlight the encounter between indigenous tradition and colonialism, while contributions from modern playwrights such as Virgilio Pinero, Jose Triana, and Denise Stolkos take on the tumultuous political and social upheavalsof the past century. The editors have added comprehensive critical commentary that details the origins of each play, affording scholars and students of theater, performance studies, and Latin American studies the opportunity to view the history of a continent through its rich and diverse theatrical traditions. Diana Taylor is Director of The Hemispheric Institute of Performance and Politics (http: //hemi.nyu.edu/eng/about/index.shtml) and Professor of Performance Studies and Spanish at New York University. Her books include the award-winning volume "The Archive and the Repertoire: Performing Cultural Memory in the Americas," Sarah J. Townsend is a doctoral student at New York University.
A certain idea of the avant-garde posits the possibility of a total rupture with the past. The Unfinished Art of Theater pulls back on this futuristic impulse by showing how theater became a key site for artists on the semiperiphery of capitalism to reconfigure the role of the aesthetic between 1917 and 1934. The book argues that this "unfinished art"-precisely because of its historic weakness as a representative institution in Mexico and Brazil, where the bourgeois stage had not (yet) coalesced-was at the forefront of struggles to redefine the relationship between art and social change. Drawing on extensive archival research, Sarah J. Townsend reveals the importance of projects and texts that belie the rhetoric of rupture and immediacy associated with the avant-garde: ethnographic operas with ties to the recording industry, populist puppet plays, children's radio programs about the wonders of technology, a philosophical drama about the birth of a new race, and an antifascist spectacle written for (but never performed at) a theater shut down by the police. Ultimately, the book makes the case that the very category of avant-garde art is bound up in the experience of dependency, delay, and the uneven development of capitalism.
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