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xv Acknowledgments First and foremost, I wish to thank my family for all the sunny (and snowy) days I was allowed to sit in my office and write this book. Thank you for your patience. Latinx Theater in the Times of Neoliberalism would not have been possible without the amazing support of so many colleagues at Brown University in the Department of Theatre Arts and Performance Studies, the Center for the Study of Race and Ethnicity in America, the Center for Latin American Studies, and the Office of the Dean of the Faculty. Series editors Patrick Anderson and Nicholas Ridout were both early and fervent supporters of the project and have been wonderful editors and friends throughout. The entire staff of Northwestern University Press has been fabulous to work with, especially Michael Levine, who believed in it from the start. The anonymous readers were also superb. Thank you for your attention to my work in the midst of doing yours. My friends in the Latinx Theatre Commons, ATHE, and ASTR, who have been interlocutors throughout the process, have made the book better (and shorter!). Special kudos go to Jon D. Rossini, Marci McMahon, Patricia Herrera, Ramón Rivera-​ Servera, Harvey Young, Michal Kobialka, and Rosemarie Bank, who have seen many drafts of parts of this book throughout the last decade. The staff of La Artisan Café kept me fed throughout my sabbatical , and they deserve great credit for the productivity of my afternoon writing sessions. Lou Moreno at INTAR was generous and kind in sharing his time and many archives as I did preliminary research. My greatest debt, of course, goes to the playwrights and directors whose plays and productions I discuss throughout the book. Many of them gave of their time freely in the form of interviews and email conversations about their work. In particular, I wish to thank Victor Cazares, whose play Ramses contra los monstruos changed the structure and the subject of Latinx Theater in the Times of Neoliberalism, and whose friendship is one of the cornerstones of my life. Portions of chapter 2 appeared in “Havana Isn’t Waiting: Staging Travel during Cuba’s Special Period,” in Performance in the Borderlands, edited by Ramón H. Rivera-​ Servera and Harvey Young (Houndsmills, U.K.: Palgrave Macmillan, 2010). A very different version of a portion of chapter 4 was published as“Latino/a Dramaturgy as Historiography,” in Theatre/Performance Historiography: xvi Acknowledgments Time, Space, Matter, edited by Rosemarie K. Bank and Michal Kobialka (Houndsmills, U.K.: Palgrave Macmillan, 2015). Latinx Theater in the Times of Neoliberalism ...


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