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This new in paperback edition of World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This Encyclopedia is indispensable for anyone interested in the cultures of the Americas or in modern theatre. It is also an invaluable reference tool for students and scholars of a wide range of disciplines including history, performance studies, anthropology and cultural studies.
Latin American culture has given birth to numerous dramatic works, though it has often been difficult to locate information about these plays and playwrights. This volume traces the history of Latin American theater, including the Nuyorican and Chicano theaters of the United States, and surveys its history from the pre-Columbian period to the present. Sections cover individual Latin American countries. Each section features alphabetically arranged entries for playwrights, independent theaters, and cultural movements. The volume begins with an overview of the development of theater in Latin America. Each of the country sections begins with an introductory survey and concludes with copious bibliographical information. The entries for playwrights provide factual information about the dramatist's life and works and place the author within the larger context of international literature. Each entry closes with a list of works by and about the playwright. A selected, general bibliography appears at the end of the volume.
The Concise Encyclopedia includes: all entries on topics and countries, cited by many reviewers as being among the best entries in the book; entries on the 50 leading writers in Latin America from colonial times to the present; and detailed articles on some 50 important works in this literature-those who read and studied in the English-speaking world.
The second volume of the World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty-six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This is a unique volume in its own right; in conjunction with the other volumes in this series it forms a reference resource of unparalleled value.
The Routledge Companion to Scenography is the largest and most comprehensive collection of original essays to survey the historical, conceptual, critical and theoretical aspects of this increasingly important aspect of theatre and performance studies. Editor and leading scholar Arnold Aronson brings together a uniquely valuable anthology of texts especially commissioned from across the discipline of theatre and performance studies. Establishing a stable terminology for a deeply contested term for the first time, this volume looks at scenography as the totality of all the visual, spatial and sensory aspects of performance. Tracing a line from Aristotle’s Poetics down to Brecht and Artaud and into contemporary immersive theatre and digital media, The Routledge Companion to Scenography is a vital addition to every theatre library.
How did Brazilian theater survive under the military dictatorship of 1964-1985? How did it change once the regime was over? This collection of new essays is the first to cover Brazilian theater during this period. Brazilian scholars and artists discuss the history of a theater community that not only resisted the regime but reinvented itself and continued to develop more sophisticated forms of expression even in the face of competition from television and other media. The contributors recount the struggle to stage meaningful plays at a time when some artists and intellectuals were exiled, others imprisoned, tortured or killed. With the return of democracy other important issues arose: how to ensure space for different practices and for regional theater, and how to continue producing international plays that could be meaningful for a Brazilian audience.
In his work he constantly appraised his own dramatic development and the potential of his theatrical activity, in light of cultural and political possibilities, to affect social change.
After the Long Silence offers a ground-breaking, meticulously researched criticism of Brazilian contemporary performance created by its post-dictatorship generation, whose work expresses the consequences of decades of state-imposed censorship. By offering an in-depth examination of key artists and their works, Cláudia Tatinge Nascimento highlights Brazil’s political trajectory while never allowing the weight of historical events to offset key aesthetic trends. Brazilian theater artists born around the time of the nation’s 1964 military coup experienced the oppressive rule of dictatorship throughout their formative years, but came of age as Brazil re-entered democracy some two decades later. This book showcases how the post-dictatorship generation developed performances that mapped the uncharted territories of Brazil’s political trauma with new dramaturgies, site-specific and street productions, and aesthetic experimentation. The author’s in-depth research into a wide array of archival materials and publications in both Portuguese and English demonstrates how the artistic practices of significant post-dictatorship artists such as Cia. dos Atores, Teatro da Vertigem, Grupo Galpão, Os Fofos Encenam, and Newton Moreno were driven by critical thinking and a postcolonial sentiment, proving symptomatic of the nation’s shift from an ethos of half-truth telling into a transitional justice that fell short in affirming citizenship. Ideal for scholars of the intersection of theatre and politics, After the Long Silence: The Theater of Brazil’s Post-Dictatorship Generation offers insight into the function of theater in times of political turmoil and artmaking practices that emerge in response to oppressive regimes.
Translation has facilitated colonialism from the fifteenth century to the present day. Epistemicide, which involves destroying, marginalizing, or banishing Indigenous, subaltern, and counter-hegemonic knowledges, is one result. In the Americas, it is a racializing process. But in the hands of subaltern translators and interpreters, translation has also been used as a decolonial method. The book gives an account of translation-as-epistemicide in the Americas, drawing on a range of examples from the early colonial period to the War on Terror. The first chapters demonstrate four distinct operations of epistemicide: the commensuration of worlds, the epistemic marginalization of subaltern translators and the knowledge they produce, the criminalization of translators and interpreters, and translation as piracy or extractivism. The second part of the book outlines decolonial translation strategies, including an epistemic posture the author calls “bewilderment.” Translation and Epistemicide tracks how through the centuries translation practices have enabled colonialism and resulted in epistemicide, or the destruction of Indigenous and subaltern knowledge.
"The one source that sets reference collections on Latin American studies apart from all other geographic areas of the world.... The Handbook has provided scholars interested in Latin America with a bibliographical source of a quality unavailable to scholars in most other branches of area studies." —Latin American Research Review Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon, of the Library of Congress Hispanic Division, has been the editor since 2000, and Katherine D. McCann has been assistant editor since 1999. The subject categories for Volume 60 are as follows: Art History (including ethnohistory) Literature (including translations from the Spanish and Portuguese) Music Philosophy: Latin American Thought