Project MUSE®: Latin American Theatre Review - Latest Articles
https://muse.jhu.edu/journal/519
Project MUSE®: Latest articles in Latin American Theatre Review.daily12026-05-12T00:00:00-05:00text/htmlen-USVol. 39 (2005) through current issueLatest Articles: Latin American Theatre ReviewTWOProject MUSE®Latin American Theatre Review2161-05760023-8813Latest articles in Latin American Theatre Review. Feed provided by Project MUSE®A Last Note from the Editor
https://muse.jhu.edu/article/976554
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It gives me great pleasure to present this special issue organized by Gail Bulman and Sophie Stevens. Needless to say, the topic of worldmaking could not be more relevant within the context of the political, economic, and social turmoil that currently extends throughout the Americas and far beyond. As a live, “in-your-face” art that combines the verbal and the visual, theatre plays an increasingly significant role in underscoring that turmoil, particularly in areas where free speech has ceased to exist and where journalists are being killed at an alarming rate. Staged performances serve as a form of worldmaking, or re-making, by prompting spectators to become spect-actors and to take on a more active role in the
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallA Last Note from the Editor2025-12-10text/htmlen-USA Last Note from the Editor2025-12-102025TWOProject MUSE®50182026-05-12T00:00:00-05:002025-12-10Introduction: Worldmaking on Stage
https://muse.jhu.edu/article/976555
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This special issue on Worldmaking on Stage is the result of many discussions at conferences and performances and among networks of collaborators about a key concern that unites the articles in this issue: what role can theatre and performance play in critiquing social injustices in the present and imagining worlds for the future? “Imagining Possible Futures in the Americas” was the theme of the Latin American Studies Association 2024 congress in Bogotá, where the work that forms the basis of these articles was presented in a panel titled “Worldmaking on Stage: Theatre’s Role in Embodying, Creating, and Modifying Imaginaries of Social Justice,” co-organized by Gail Bulman and Sophie Stevens.In this issue, the term
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallIntroduction: Worldmaking on Stage2025-12-10text/htmlen-USIntroduction: Worldmaking on Stage2025-12-102025TWOProject MUSE®207632026-05-12T00:00:00-05:002025-12-10Worldmaking on Stage. Reporting and Remaking the Languages of the Dramatic Text
https://muse.jhu.edu/article/976556
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Argentine poet Juan Gelman (1930–2014) unlocked for me the dilemma of how to conceive of worldmaking in Spanish. I was finding it difficult to come up with a translation into Spanish and was never offered one that convinced the person who suggested it, or me. Then I found it, one day in Buenos Aires, before the pandemic, in the glorious bookshop El Ateneo Grand Splendid. There, I came across Juan Gelman’s collection Mundar (2008). Here was the translation I’d been looking for. “Mundar.” What an evocative verb, full of “mundo,” world, full of “mudar,” change, full of the world and of shapeshifting. The collection, says Ángel Luis Luján, “recoge en sus páginas una reflexión general sobre ‘estar en el mundo.’” The
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallWorldmaking on Stage. Reporting and Remaking the Languages of the Dramatic Text2025-12-10text/htmlen-USWorldmaking on Stage. Reporting and Remaking the Languages of the Dramatic Text2025-12-102025TWOProject MUSE®684462026-05-12T00:00:00-05:002025-12-10Glam: El soundtrack efímero de Yeguas sueltas, montaje sexodisidente de Teatro Sur
https://muse.jhu.edu/article/976557
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I always had a repulsive sort of need to be something more than human.En este ensayo, ofrezco una lectura de Yeguas sueltas (2023), montaje de la compañía Teatro Sur, que cuenta con la dirección y la dramaturgia del teatrista sexodisidente Ernesto Orellana.1 Sobre la base de materiales que José Esteban Muñoz rotularía como evidencia efímera, este montaje reconstruye una imprevista protesta homosexual ocurrida en la Plaza de Armas de Santiago de Chile en los últimos días de la Unidad Popular (UP).2En mi aproximación, analizo el dispositivo escénico, el trabajo del elenco actoral y la dramaturgia; en especial, las didascalias. Para mí, estos elementos resultan irresistibles, pues, con ellos la compañía no solo
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallGlam: El soundtrack efímero de Yeguas sueltas, montaje sexodisidente de Teatro Sur2025-12-10text/htmlen-USGlam: El soundtrack efímero de Yeguas sueltas, montaje sexodisidente de Teatro Sur2025-12-102025TWOProject MUSE®986162026-05-12T00:00:00-05:002025-12-10Let it Flow, Let it Go: Sexuality, Gender Construction, and Worldmaking through Microteatro
https://muse.jhu.edu/article/976558
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A body is not only volume; it is defined by its voids, its sinuousness, its textures and tones, just as music is built not with the mere sum of sounds but also with its silences, rhythms, and vibrations,its cadence and fluctuating volume.So, we affirm ourselves as complex identity constructions with a historicity and in transit …. These identities are becoming increasingly fluid and elusive with their cultural practices, their sexual-affective relationships, their expressions of gender, and even their objects of desire.As the above words suggest, there are many parallels between the complexity and fluidity of sexual identities and the arts. The rhythms and impulses behind them both draw us toward them and
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallLet it Flow, Let it Go: Sexuality, Gender Construction, and Worldmaking through Microteatro2025-12-10text/htmlen-USLet it Flow, Let it Go: Sexuality, Gender Construction, and Worldmaking through Microteatro2025-12-102025TWOProject MUSE®745922026-05-12T00:00:00-05:002025-12-10Hijxs de la memoria: (pos)dictadura, violencia de género y resistencia en el teatro chileno contemporáneo
https://muse.jhu.edu/article/976559
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Es a través de esta lucha que nosotras hemos dado por la visibilización de la violencia política sexual, por la impunidad en relación a estos crímenes; en la institucionalidad no hemos encontrado nada ni vamos a encontrar nada, pero cruza nuestros cuerpos la sensación de haber obtenido justicia social y haber sido reparada con nosotras y entre nosotras…En un reportaje publicado por la Universidad de Playa Ancha en Chile, la activista feminista Beatriz Bataszew reiteró la incesante lucha por denunciar la invisibilización de la violencia político-sexual como un crimen de lesa humanidad. Asimismo, declaró cómo el trabajo colectivo y los espacios de denuncia para que esos delitos sean reconocidos y castigados son algo
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallHijxs de la memoria: (pos)dictadura, violencia de género y resistencia en el teatro chileno contemporáneo2025-12-10text/htmlen-USHijxs de la memoria: (pos)dictadura, violencia de género y resistencia en el teatro chileno contemporáneo2025-12-102025TWOProject MUSE®834032026-05-12T00:00:00-05:002025-12-10Poner el cuerpo as a Practice of Embodying, Naming, and Worldmaking in Two Plays from Argentina and Uruguay
https://muse.jhu.edu/article/976560
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“Quiero mi nombre,” states the protagonist in Marianella Morena’s 2021 play Muñecas de piel (94). The play centers on the real-life case Operación Océano, the name given to the largest investigation into the sexual exploitation of minors in Uruguay’s history.1 The protagonist, who has suffered abuse and exploitation, requests her own name and in doing so reminds us of victims of violence and feminicide who remain unidentified and unnamed. In this way, the play interacts with activist actions, discourses, and campaigns throughout Latin America that seek to identify and commemorate victims of gender-based violence and feminicide.2 In this article, I will demonstrate how the significance of the act of naming goes
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallPoner el cuerpo as a Practice of Embodying, Naming, and Worldmaking in Two Plays from Argentina and Uruguay2025-12-10text/htmlen-USPoner el cuerpo as a Practice of Embodying, Naming, and Worldmaking in Two Plays from Argentina and Uruguay2025-12-102025TWOProject MUSE®767692026-05-12T00:00:00-05:002025-12-10Interview with Kris Peterson: Virtual Innovation in a 2020 Production of Manual for a Desperate Crossing by María Irene Fornés
https://muse.jhu.edu/article/976561
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In the following interview, theatre director Kris Peterson1 talks about how María Irene Fornés’ Manual for a Desperate Crossing (1996) spoke to her and her students and describes the many challenges faced and the surprising rewards reaped as they created and virtually presented this piece during the early part of the 2020 Covid-19 pandemic. As we have seen repeatedly in the field of theatre, the pandemic moment forced artists, practitioners, and theatre community folks to re-think the art of production and possible adaptations under the restrictions imposed by COVID. While theatre may have returned since then to mostly in-person productions, the lessons we can take from the accelerated learning about how to pivot
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallInterview with Kris Peterson: Virtual Innovation in a 2020 Production of Manual for a Desperate Crossing by María Irene Fornés2025-12-10text/htmlen-USInterview with Kris Peterson: Virtual Innovation in a 2020 Production of Manual for a Desperate Crossing by María Irene Fornés2025-12-102025TWOProject MUSE®139722026-05-12T00:00:00-05:002025-12-10“Bertita” Cáceres en el teatro: Entrevista con Hermes Reyes y su lucha por la justicia social en Honduras
https://muse.jhu.edu/article/976562
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El 20 de agosto de 2024 me reuní con Hermes Reyes, uno de los artistas escénicos más versátiles que tiene Honduras, para charlar sobre su carrera, que incluye dramaturgia, actuación, dirección, producción, títeres, pantomima y cine. Como defensor de los derechos humanos y de los pueblos originarios, la lucha que ha sido central en su práctica artística. Ha dedicado su vida a los grupos marginados en Honduras, al servicio y la protección de los demás. Sus visiones personales, políticas y de gestión cultural reflejan su evidente motivación por construir un mundo más humano en el que las artes sean centrales. En nuestra charla abarcamos sus inicios como actor, dramaturgo y activista político, así como su colaboración
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmall“Bertita” Cáceres en el teatro: Entrevista con Hermes Reyes y su lucha por la justicia social en Honduras2025-12-10text/htmlen-US“Bertita” Cáceres en el teatro: Entrevista con Hermes Reyes y su lucha por la justicia social en Honduras2025-12-102025TWOProject MUSE®206212026-05-12T00:00:00-05:002025-12-10Mario Ernesto Sánchez (1947–2025): Un gigante de las tablas
https://muse.jhu.edu/article/976563
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En 2009 cuando el Festival Iberoamericano de Teatro de Cádiz le otorgó el premio Atahualpa del Cioppo al Festival Internacional de Teatro Hispano de Miami, afirmaba que el festival tenía nombre propio: se llamaba Mario Ernesto Sánchez. Solamente este gigante de las tablas (y no me refiero solo a su tamaño natural) fue capaz de llevar a cabo la ardua labor que se había impuesto desde ya hacía varias décadas, la de preservar la cultura hispana en Estados Unidos, “que tanto contribuye a la calidad de vida de todos,”1 a través del teatro y promoverla en cuotas anuales. La historia del uno fue y sigue siendo inseparable de la del otro. Desde un principio no se perfilaba como una tarea sencilla de concretar, además de
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallMario Ernesto Sánchez (1947–2025): Un gigante de las tablas2025-12-10text/htmlen-USMario Ernesto Sánchez (1947–2025): Un gigante de las tablas2025-12-102025TWOProject MUSE®191322026-05-12T00:00:00-05:002025-12-10In Honor of Debra A. Castillo (1953–2025)
https://muse.jhu.edu/article/976564
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There is no way for me to comprehend Debbie’s death. But there are stories related to each class, conference, article, book, theatre production, community event, and celebration Debbie conjured up. I’ll recount a few here, hoping that in some way they will resonate with the people who were touched and transformed by Debbie’s generous spirit. These people number in the thousands, not the hundreds.Early on, as a student at Cornell, I would send Debbie a paper or play. She would respond quickly, generally the same day, sometimes within the hour. Her comments were detailed and on-target. Insightful. Everyone else had the same experience. I was utterly confused, until one day it finally dawned on me: this unassuming
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/519/image/coversmallIn Honor of Debra A. Castillo (1953–2025)2025-12-10text/htmlen-USIn Honor of Debra A. Castillo (1953–2025)2025-12-102025TWOProject MUSE®49032026-05-12T00:00:00-05:002025-12-10