Honorable Mention from the 2022 International Latino Book Awards for Best Nonfiction - Multi-Author A curated collection of new Latinx and Latin American plays, monologues, interviews, and critical essays that asks the question: what is the common ground between Latinx and Latin American artists? Featuring a mix of plays and scholarly essays, this work originally emerged from the Latino Theater Company's Encuentro de las Américas festival, produced in partnership with the Latinx Theatre Commons (LTC) at the Los Angeles Theatre Center in 2017. The collection chronicles not only the theatrical productions of the festival, but also features a transnational exploration of U.S. Latinx and Latin American theatre-making. Alongside plays by Evelina Fernández, Alex Alpharaoh, J.Ed Araiza and Carlos Celdrán this anthology also includes a mix of monologues, snapshots, profiles and interviews that together provide a dynamic account of these intersections within U.S. Latinx and Latin American Theater. A unique collection it serves not only as a testament to the diversity of Latinx artists, but also to the strength of the Latinx Theater movement and its ever-growing networks across the Hemispheric Americas. Full playtexts include: Dementia by Evelina Fernández WET: A DACAmented Journey by Alex Alpharoah Miss Julia adapted by J.Ed Araiza 10 Million by Carlos Celdrán

Fifty Key Figures in Latinx and Latin American Theatre is a critical introduction to the most influential and innovative theatre practitioners in the Americas, all of whom have been pioneers in changing the field. The chosen artists work through political, racial, gender, class, and geographical divides to expand our understanding of Latin American and Latinx theatre while at the same time offering a space to discuss contested nationalities and histories. Each entry considers the artist’s or collective’s body of work in its historical, cultural, and political context and provides a brief biography and suggestions for further reading. The volume covers artists from the present day to the 1960s—the emergence of a modern theatre that was concerned with Latinx and Latin American themes distancing themselves from an European approach. A deep and enriching resource for the classroom and individual study, this is the first book that any student of Latinx and Latin American theatre should read.

This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies. For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma. This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.

A History of Latinx Performing Arts in the U.S. provides a comprehensive overview of the development of the Latinx performing arts in what is now the U.S. since the sixteenth century. This book combines theories and philosophical thought developed in a wide spectrum of disciplines—such as anthropology, sociology, gender studies, feminism, and linguistics, among others—and productions’ reviews, historical context, and political implications. Split into two volumes, these books offer interpretations and representations of a wide range of Latinxs’ lived experiences in the U.S. Volume I provides a chronological overview of the evolution of the Latinx community within the U.S., spanning from the 1500s to today, with an emphasis on the Chicano artistic renaissance initiated by Luis Valdez and the Teatro Campesino in the 1960s. Volume II continues, looking more in depth at the experiences of Latinx individuals on theatre and performance, including Miguel Piñero, Lin-Manuel Miranda, María Irene Fornés, Nilo Cruz, and John Leguizamo, as well as the important role of transnational migration in Latinx communities and identities across the U.S. A History of Latinx Performing Arts in the U.S. offers an accessible and comprehensive understanding of the field and is ideal for students, researchers, and instructors of theatre studies with an interest in the diverse and complex history of Latinx theatre and performance.

The Routledge Companion to Latine Theatre and Performance traces how manifestations of Latine self-determination in contemporary US theatre and performance practices affirm the value of Latine life in a theatrical culture that has a legacy of misrepresentation and erasure. This collection draws on fifty interdisciplinary contributions written by some of the leading Latine theatre and performance scholars and practitioners in the United States to highlight evolving and recurring strategies of world making, activism, and resistance taken by Latine culture makers to gain political agency on and off the stage. The project reveals the continued growth of Latine theatre and performance through chapters covering but not limited to playwriting, casting practices, representation, training, wrestling with anti-Blackness and anti-Indigeneity, theatre for young audiences, community empowerment, and the market forces that govern the US theatre industry. This book enters conversations in performance studies, ethnic studies, American studies, and Latina/e/o/x studies by taking up performance scholar Diana Taylor’s call to consider the ways that “embodied and performed acts generate, record, and transmit knowledge.” This collection is an essential resource for students, scholars, and theatremakers seeking to explore, understand, and advance the huge range and significance of Latine performance.

Latinx Teens examines how Latinx teenagers influence twenty-first-century U.S. popular culture. The book explores the diverse ways that contemporary mainstream film, television, theater, and young adult literature invokes, constructs, and interprets adolescent Latinidad.

The official journal of the Mid-America Theatre Conference Theatre History Studies is the official journal of the Mid-America Theatre Conference, Inc. (MATC). The conference is dedicated to the growth and improvement of all forms of theatre throughout a twelve-state region that includes the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, and Wisconsin. Its purposes are to unite people and organizations within this region and elsewhere who have an interest in theatre and to promote the growth and development of all forms of theatre. Published annually since 1981, Theatre History Studies provides critical, analytical, and descriptive essays on all aspects of theatre history and is devoted to disseminating the highest quality peer-review scholarship in the field. CONTRIBUTORS Angela K. Ahlgren / Samer Al-Saber / Kelly I. Aliano / Gordon Alley-Young / Melissa Blanco Borelli / Trevor Boffone / Jay Buchanan / Matthieu Chapman / Joanna Dee Das / Ryan J. Douglas / Victoria Fortuna / Christiana Molldrem Harkulich / Alani Hicks-Bartlett / Jeanmarie Higgins / Lisa Jackson-Schebetta / Erin Rachel Kaplan / Heather Kelley / Patrick Maley / Karin Maresh / Lisa Milner / Courtney Elkin Mohler / Heather S. Nathans / Heidi L. Nees / Sebastian Samur / Michael Schweikardt / Teresa Simone / Dennis Sloan / Guilia Taddeo / Kyle A. Thomas / Alex Vermillion / Bethany Wood

This anthology examines maternity in contemporary performance at the intersection of a wide range of topics from nationhood to mental health, queer parenting, embodied dramaturgy, cultural practice, and immigration. Across the breadth of these themes, we interrogate the cultural implications and politics of how we script, perform, receive, and define mothers, challenging many of the normalizing and patriarchal tropes associated with the mother-as-character. This book includes critical essays examining twenty-first century dramatic literature, first-hand ethnographic accounts of motherhood in practice, interviews, feminist manifestos, and artist reflections. In its deliberately curated variety, this collection seeks to resist homogeneity and offer instead a range of approaches to key questions: what versions of motherhood get staged, and why? And what do dramatic representations tell us about the role of mothers in our own fraught contemporary moment? This collection will be of great interest to those in academia who are teaching, researching, or studying in the fields of Theatre and Performance Studies, American Studies, and Feminist and Gender Studies.

TikTok Broadway: Musical Theatre Fandom in the Digital Age explores how TikTok has revolutionized musical theatre fandom and democratized musical theatre fan cultures and spaces. The book argues that TikTok has created a new canon of musical theatre thanks to the way virality works on the app, expanding musical theatre into a purely digital realm that spills into other, non-digital aspects of U.S. popular culture.

Renegades: Digital Dance Cultures from Dubsmash to TikTok explores how hip hop culture -- principally music and dance -- is used to construct and perform identity and maintain a growing urban youth subculture. This community finds its home on Dubsmash, a social media app that lets users record short dance challenge videos before cross-sharing them on different social media apps such as Instagram and Snapchat. Author Trevor Boffone interrogates the roles that Dubsmash, social media, and hip hop music and dance play in youth identity formation in the United States. These so-called Dubsmashers privilege their cultural and individual identities through the use of performance strategies that reinforce notions of community and social media interconnectedness in the digital age. These young people create a sense of identity and community that informs and is informed by hip hop culture. As such, the book argues that Dubsmash serves as a fundamental space to fashion contemporary youth identity. To do this, the book re-appropriates the term "Renegade" to explain the nuanced ways that Dubsmashers take up visual and sonic space on social media apps to self-fashion identity, form supportive digital communities, and exert agency to take up space that is often denied to them in other facets of their lives.