Two 'horizon' plays by US Latina dramatist Caridad Svich: PRODIGAL KISS and PERDITA GRACIA, inspired by Federico Garcia Lorca's Poet in New York and Shakespeare's The Winter's Tale, respectively. Dynamic, lyrical dramas for a new audience.

In this unprecedented, fascinating book which covers women in theatre from the 1910s to the 2010s, author Lynne Greeley notes that, for the purposes of this study, "feminism" is defined as the political impulse toward economic and social empowerment for females or the female-identified, a position perceived by many feminists as oppositional to ideas of femininity that they see as personally and politically constraining and that "femininity" comprises social behaviors and practices that mean as "many different things as there are women," some of which are empowering and others of which are not. This book illuminates how throughout the twentieth century and into the twenty-first, playwrights and artists in American theatre both embodied and disrupted the feminine of their times. Through approaches as wide ranging as performing their own recipes, energizing silences, raging against war and rape, and inviting the public to inscribe their naked bodies, theatre artists have used performance as a site to insert themselves between the physicality of their female presence and the liminality of their disrupting the role of the feminine. Capturing that place of liminality, a neither-here-nor-there place that is often unsafe, where the established order is overturned by acts as banal as raising a plant, women have written and performed and disrupted their way through one hundred years of theatre history, even within the constraints of a variably rigid and usually unsympathetic social order. Creating a feminist femininity, they have reinscribed their place in the culture and provided models for their audiences to do the same. This comprehensive tome, part of the Cambria Contemporary Global Performing Arts headed by John Clum (Duke University) is an essential addition for theater studies and women's studies.

Breaking new ground in this century, this wide-ranging collection of essays is the first of its kind to address the work of contemporary international women playwrights. The book considers the work of established playwrights such as Caryl Churchill, Marie Clements, Lara Foot-Newton, Maria Irene Fornes, Sarah Kane, Lisa Kron, Young Jean Lee, Lynn Nottage, Suzan-Lori Parks, Djanet Sears, Caridad Svich, and Judith Thompson, but it also foregrounds important plays by many emerging writers. Divided into three sections-Histories, Conflicts, and Genres-the book explores such topics as the feminist history play, solo performance, transcultural dramaturgies, the identity play, the gendered terrain of war, and eco-drama, and encompasses work from the United States, Canada, Latin America, Oceania, South Africa, Egypt, and the United Kingdom. With contributions from leading international scholars and an introductory overview of the concerns and challenges facing women playwrights in this new century, Contemporary Women Playwrights explores the diversity and power of women's playwriting since 1990, highlighting key voices and examining crucial critical and theoretical developments within the field.

Cherr’e Moraga, Migdalia Cruz, Caridad Svich, Josefina Lopez , Edit Villarreal and Diana S‡ena are in the vanguard of contemporary Hispanic women playwrights in the United States. The voices of three generations of Hispanic women are heard in these plays as the women explore their bicultural heritage, articulating what it means to be a Hispanic woman and, in essence, shattering the myths that have been associated with that heritage. The plays of Shattering the Myth illuminate a feminine language rich with texture and character, a language that has far too long been hidden from this countryÕs cultural tapestry. Opening the anthology is an introduction by Linda Feyder which provides background on the playwrights and their works. The plays in the collection were chosen by noted playwright and novelist Denise Ch‡vez.

NoPassport theatre alliance and press in collaboration with force/collision, Theater J and Twinbiz NYC commissioned and presented an evening of short works in support of gun control on Janurary 26, 2013 at Georgetown University's Gonda Theatre in Washington D.C. directed by force/collision to coincide with Molly Smith and Suzanne Blue Star Boy's March on Washington for Gun Control.

A collection of thought-provoking, adventurous feminist plays by playwright Elaine Avila that push at theatrical form, explore gender and identity, and human life on this planet. With an introduction by American director Ted Gregory.

A Rave Fable. This play hurls one of Greek tragedy's most compelling sagas into a sleek netherworld of sex, drugs and trance music. Iphigenia is the daughter of a political celebrity who embraces sensuous excess with a transgendered glam rock star named Achilles in a desperate attempt to flee her inevitable fate. "Svich's text is a unique language spoken by beings that inhabit the intermediate world that she creates. It vacillates between poetry and realism, composing a theatrical intercultural dialogue that fuses aspects of modern Latin American slang with US media lingo and original rock lyrics." -Chiori Miyagawa, The Brooklyn Rail "Sacrificial women haunt the darkling world created by Caridad Svich in her bold play. It creates a transfixing vision of hell on earth, buttressed by Svich's fractured poetic voice and her unblinking laser gaze at the ethical costs of cheap labor and disposable celebrity. Svich cunningly twists our expectations of class and gender roles." -Kerry Reid, The Chicago Tribune "Caridad Svich's IPHIGENIA ... A RAVE FABLE is an exhilarating play. The narrative subtlety is what makes Svich's redux of Euripides's IPHIGENIA IN AULIS so stirring. Through video projections, throbbing music and brand-name chemicals may offer escape, they punish the soul. Svich's remarkable poetry and crackling words reveals that the ravers, now permanently numb, also want Iphigenia dead. A play of mythic power." -Mark Blankenship, Variety "Caridad Svich's play has gorgeous, drunken poetry ... This 'rave fable' re-invents the story of Agamemnon's doomed daughter as one of modern political exigency. In the chorus (of dead girls of Ciudad Juarez) Svich layers elegy and comedy, the shame and fear she feels for these lost girls. Svich makes the anonymous city stand in for the gods of ancient drama just as unforgiving, just as hungry, just as brutal." -Helen Shaw, N Y Sun"