Cover

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Half Title, Series Info, Title Page, Copyright, Dedication

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Contents

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pp. vii-viii

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Preface

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pp. ix-xiv

Latinx Theater in the Times of Neoliberalism emerges from a combination of frustration in the rehearsal room and the throes of political rage. Its first inkling came when I was directing a production of Cherríe Moraga’s The Hungry Woman in 2006 in the midst of a national debate on immigration policy which resulted in marches and activism throughout the country.1 ...

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Acknowledgments

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pp. xv-xvi

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, ...

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Critical Introduction

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pp. 3-24

If one accepts that some of the first incursions of neoliberal capital in the Americas occurred in the mid-1960s with the Border Industrialization Act, which allowed the first maquiladoras to arrive on the U.S.–Mexico border, one must also acknowledge that U.S. Latinx theater emerges in the neoliberal period.1 And, that it continues to dwell there. ...

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Chapter 1. “Never Any Other Time but This Time No World but This World,” or Staging Indigeneity in Neoliberal Times

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pp. 25-72

Unlike the chapters that follow, this one does not center on a single event or phenomena, such as the rise of femicides, the Balseros Crisis, or the recent Mexican narcoguerra. Rather, it traces creative responses to a hemispheric (and global) shift in political possibilities: the fall of socialism, the end of a series of leftist radical revolutionary movements in Central America, ...

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Chapter 2. Havana Is (Not) Waiting: Staging the Impasse in Cuban American Drama about Cuba’s Special Period

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pp. 73-104

At a talk back after a matinee performance of Eduardo Machado’s Kissing Fidel, I asked Michael John Garcés about his experience of directing the play, which had an unsettling feel. In contrast to the set, which depicted the lobby of a funeral home with well-appointed seats, an elegant coffee machine, and a wall of red roses, ...

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Chapter 3. Neoliberalism Is a Serial Killer

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pp. 105-146

Victor Cazares’s The Dead Women of J-Town and Smiley (2008) features a chorus of dead women of J-Town (Juárez) greeting the newly killed Mayra, who still has the glow of life on her. Together with Lina and Mariana, the curators of the Museum of the Dead Women of Juárez, a charismatic drag queen named Smiley, and a pair of less than charming border patrol agents, ...

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Chapter 4. Swallowing the ’80s (W)Hole: Millennial Drama of the Narcoguerra

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pp. 147-194

Narcotrafficking is a primary contributor to the transnational American imaginary, in part because of the role of U.S. and Mexican films. In the United States, the most famous of these films are Scarface, whose poster graces the walls of many a narcotrafficker’s home, and Traffic, a film that collated a series of famous rumors about 1980s and ’90s narcotraffic into a moralistic ...

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Conclusion: So Go the Ghosts of . . .

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pp. 195-200

Over the course of this book, I have considered how Latinx playwrights have exposed the violence of neoliberalism throughout the hemisphere. Their painstaking thick descriptions of the transnational transit of bodies and goods reveal the ways in which economic violence affects the quotidian lives of citizens of the Americas. ...

Notes

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pp. 201-228

Bibliography

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pp. 229-242

Index

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pp. 243-247