This book brings to English readers, in its entirety for the first time, a translation of José Watanabe’s Antígona, accompanied by the original Spanish text and critical essays. The lack of availability in English has resulted in the absence of Antígona from important Anglophone studies devoted specifically to the reception of ancient Greek tragedy in the Americas. Pérez Díaz's translation fills this gap. The introduction provides the performative, political, and historical contexts in which the text was written in collaboration with the actress Teresa Ralli, from the Peruvian theater group Yuyachkani, who also originally performed it. Following the bilingual text, a critical essay provides an analysis of textual aspects of Antígona that have been disregarded, situating it in relation to Sophocles' Antigone and in conversation with relevant moments of the vast traditions of reception of the Greek tragedy. An appendix briefly surveys some notable productions of the play throughout Latin America. This comprehensive volume provides an invaluable resource for readers interested in José Watanabe's work, students and scholars working on classical reception and Latin American literature and theatre, as well as theatre practitioners.

This book makes José Watanabe's Antígona available to English readers for the first time, accompanied by the original Spanish text and critical essays. Suitable for those interested in José Watanabe's work and students and scholars of classical reception and Latin American literature and theatre.

This book makes José Watanabe's Antígona available to English readers for the first time, accompanied by the original Spanish text and critical essays. Suitable for those interested in José Watanabe's work and students and scholars of classical reception and Latin American literature and theatre.

Antigonas: Writing from Latin America is the first book in the English language to approach classical reception through the study of one classical fragment as it circulates throughout Latin America. This interdisciplinary research engages comparative literature, Latin American studies,classical reception, history, feminist theory, political philosophy, and theatre history. Moira Fradinger tracks the ways in which, since the early nineteenth century, fragments of Antigone's myth and tragedy have been persistently cannibalized and ruminated throughout South and Central America andthe Caribbean, quilted to local dramatic forms, revealing an archive of political thought about Latin America's heterogeneous neo-colonial histories. Antigona is consistently characterized as a national mother and, as the twentieth century advances, multiplied on stage, forming female collectives,foregrounding the urgency of systemic change or staging gender politics. Through meticulous examination of classical culture in necolonial contexts, Fradinger explores ways of reading Creole texts from the geopolitical South that disrupt the colonial reading protocols that deracinate texts or lockthem into locality. By historicizing Antigona plays and interpreting them with a purpose to address specific colonial legacies, the book reveals how Antigona has ceased being Greek and instead tells stories of twentieth- and twenty-first-century Latin America. Antigonas rethinks the paradigmsthrough which we understand the presence of ancient cultural materials in former colonial territories, while illuminating an understudied continent in Anglophone reception studies.

Holy Terrors presents exemplary original work by fourteen of Latin America’s foremost contemporary women theatre and performance artists. Many of the pieces—including one-act plays, manifestos, and lyrics—appear in English for the first time. From Griselda Gambaro, Argentina's most widely recognized playwright, to such renowned performers as Brazil's Denise Stoklos and Mexico’s Jesusa Rodríguez, these women are involved in some of Latin America's most important aesthetic and political movements. Of varied racial and ethnic backgrounds, they come from across Latin America—Argentina, Brazil, Mexico, Chile, Colombia, Puerto Rico, Peru, and Cuba. This volume is generously illustrated with over seventy images. A number of the performance pieces are complemented by essays providing context and analysis. The performance pieces in Holy Terrors are powerful testimonies to the artists' political and personal struggles. These women confront patriarchy, racism, and repressive government regimes and challenge brutality and corruption through a variety of artistic genres. Several have formed theatre collectives—among them FOMMA (a Mayan women’s theatre company in Chiapas) and El Teatro de la máscara in Colombia. Some draw from cabaret and ‘frivolous’ theatre traditions to create intense and humorous performances that challenge church and state. Engaging in self-mutilation and abandoning traditional dress, others use their bodies as the platforms on which to stage their defiant critiques of injustice. Holy Terrors is a unique English-language presentation of some of Latin America's fiercest, most provocative art. Contributors Sabina Berman Tania Bruguera Petrona de la Cruz Cruz Diamela Eltit Griselda Gambaro Astrid Hadad Teresa Hernández Rosa Luisa Márquez Teresa Ralli Diana Raznovich Jesusa Rodríguez Denise Stoklos Katia Tirado Ema Villanueva

The Oxford Handbook of Greek Drama in the Americas is the first edited collection to discuss the performance of Greek drama across the continents and archipelagos of the Americas from the beginning of the nineteenth century to the present. The study and interpretation of the classics have never been restricted by geographical or linguistic boundaries but, in the case of the Americas, long colonial histories have often imposed such boundaries arbitrarily. This volume tracks networks across continents and oceans and uncovers the ways in which the shared histories and practices in the performance arts in the Americas have routinely defied national boundaries. With contributions from classicists, Latin American specialists, theatre and performance theorists, and historians, the Handbook also includes interviews with key writers, including Nobel Laureate Derek Walcott, Charles Mee, and Anne Carson, and leading theatre directors such as Peter Sellars, Carey Perloff, H?ctor Daniel-Levy, and Heron Coelho. This richly illustrated volume seeks to define the complex contours of the reception of Greek drama in the Americas, and to articulate how these different engagements - at local, national, or trans-continental levels, as well as across borders - have been distinct both from each other, and from those of Europe and Asia.

Women Mobilizing Memory, a transnational exploration of the intersection of feminism, history, and memory, shows how the recollection of violent histories can generate possibilities for progressive futures. Questioning the politics of memory-making in relation to experiences of vulnerability and violence, this wide-ranging collection asks: How can memories of violence and its afterlives be mobilized for change? What strategies can disrupt and counter public forgetting? What role do the arts play in addressing the erasure of past violence from current memory and in creating new visions for future generations? Women Mobilizing Memory emerges from a multiyear feminist collaboration bringing together an interdisciplinary group of scholars, artists, and activists from Chile, Turkey, and the United States. The essays in this book assemble and discuss a deep archive of works that activate memory across a variety of protest cultures, ranging from seemingly minor acts of defiance to broader resistance movements. The memory practices it highlights constitute acts of repair that demand justice but do not aim at restitution. They invite the creation of alternative histories that can reconfigure painful pasts and presents. Giving voice to silenced memories and reclaiming collective memories that have been misrepresented in official narratives, Women Mobilizing Memory offers an alternative to more monumental commemorative practices. It models a new direction for memory studies and testifies to a continuing hope for an alternative future.