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vii Acknowledgments The very ethos of the avant-​ garde as it is commonly construed hinges on the idea of a total break—an act of creativity that incurs no debts and is not bound by any retrospective need. In this book I have done my best to unravel that idea, and I am happy to acknowledge that my own debts are many. The Unfinished Art of Theater began as a dissertation written at New York University. The first nod, then, goes to my dissertation director, Diana Taylor, and to Martin Harries, Mary Louise Pratt, and Jill Lane for their many insights and advice, and also for knowing when to hold back and let me figure things out on my own. No one else knows and understands this project as well as Kahlil Chaar Pérez. Kahlil has seen it all from the beginning and has helped give it shape by talking through ideas with me, giving pointed feedback on the manuscript, and occasionally telling me: Sarah, it’s time to take a break and have a drink. In addition to being the truest of friends, he is always my first reader. Several other people read parts of the manuscript. Jonathan Eburne, Tom Beebee, Ignacio Sánchez Prado, Jonathan Abel, and Martin Harries were all generous with their time and helped make it a better book. Anna Indych-​ López was a fantastic workshop respondent to a draft of one article that was also a chapter-​ in-​ the-​ making, and I received valuable feedback on one of my chapters when it was workshopped by the faculty and grad student fellows at Berkeley’s Townsend Center for the Humanities during my time as a Mellon Postdoctoral Fellow in 2010–­ 2011. A third chapter was workshopped at the Tepoztlán Institute for the Transnational History of the Americas in Summer 2014, and the conversations I had with fellow participants at the São Paulo Symposium at the University of Chicago in May 2013 were notably help‑ ful. At various points Manuel Cuellar, Deborah Caplow, Eduardo Contreras Soto, and Heloísa Pontes all shared key references and/or tips on unpublished archival materials that found their way into the book. The two anonymous readers for the press offered suggestions that improved the final version immensely; series editor Nicholas Ridout took a keen eye to the next-​ to-​ last draft, and it has been a pleasure to work with such a professional crew at Northwestern University Press, including Gianna Mosser, Nathan MacBrien, Maggie Grossman, copyeditor Christi Stanforth, and indexer Steven Moore. Harder to quantify but in some ways even more important were the many informal conversations with colleagues and friends that helped shape my thinking about this project,or just my thinking in general.For their wise words viii Acknowledgments and comradeship, I am grateful to Sarah Wolf, Michael C. Cohen, Martin Harries, Marcial Godoy-​ Anativia, Lena Burgos-​ Lafuente, Licia Fiol-​ Matta, Pilar Rau, Pablo Assumpção Costa, Fred Riccardi, Pedro Meira Monteiro, Peter Reed, Ivonne del Valle, Daniel Nemser, Manuel Cuellar, Rielle Navitski, Abeyamí Ortega, Emilio Sauri, Ericka Beckman, Sarah Thomas, Aiala Levy, Juan Pablo Lupi, Amber Workman, and Kaitlin McNally Murphy. Special thanks to Sarah Wolf and Pilar Rau for welcoming me into their apartments in New York during research trips, and to Abeyamí Ortega for hosting me in Mexico City. State College (where I have spent the last five years) can be a challenging place for a person who winds up there alone, and so I was lucky to arrive at Penn State with a good cohort of new colleagues. Judith Sierra-​ Rivera, Hoda El Shakry, Shaoling Ma, Marco Martínez, and Justin Clark are responsible for some great memories during those first two years. More recent arrivals whose conversation and friendship I value are Matt Tierney, Anita Starosta, Tracy Rutler, Christian Haines, Magalí Armillas-​ Tiseyra, Courtney Morris, Bruno Jean-​ François, and Julie Kleinman. A warm thanks to my Latin Ameri‑ canist colleagues in the Department of Spanish, Italian, and Portuguese—John Ochoa, Julia Cuervo-​ Hewitt, Judith Sierra-​ Rivera, and Krista Brune—as well as to Matthew Marr, Mary Barnard, Maria Truglio, and my department head Giuli Dussias, who went to great lengths to support my research. Class ses‑ sions and conversations with grad students also sharpened my thoughts on various points, and I especially enjoyed my chats with Fernando Fonseca Pacheco and Alex Fyfe at Saint’s Café. This book was written with the support of a Mellon Postdoctoral Fel...


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