Announcement about the HowlRound Theatre Map

Dear Theatre Without Borders network members,

I have some great news to share! Now you can “put yourself on the map” on the Theatre Without Borders Map and on the HowlRound World Theatre Map!


HowlRound is an online “knowledge commons by and for the entire theatre community”, a place where you can join a range of conversations by and about theatre makers, like yourself. Theatre Without Borders is thrilled to link up with HowlRound to support connections between artists nationally and globally.


The HowlRound Map is an ever-growing, user-generated directory for theatre artists of all kinds from all over the world.  Similar to our own Theatre Without Borders Map, the HowlRound Map’s purpose is to make artists more available to each other.  On the World Theatre Map, you can see what theatre is happening around the globe on any given day, you can search for artists using a variety of categories and tools, and you can add your own events and resources.  Like Wikipedia, anyone can add information and edit the Map. Currently, the project is in English, Spanish, and soon to be in French. As you will see, The Map already features thousands of people, organizations, and performances around the world.


To start, create a profile for yourself and your affiliate organizations. This way anyone searching the Map can easily connect with you and attend your events. When you create your profile, be sure to include Theatre Without Borders as an Affiliation.


HowlRound also welcomes you to author blog posts and articles for their commons.  To find more information about that, please visit, or get in touch with me directly.


Meanwhile, our Theatre Without Borders Map is still alive and well!  With its focus on grassroots artist-to-artist connection on the themes of social engagement, peacebuilding, and empowerment, the Theatre Without Borders Map will continue to help you make connections artist-to-artist and people-to-people.  HowlRound’s Map offers you a way to post your profile and inform a larger community about what you are doing.


As a Theatre Without Borders Next-Gen Member and a HowlRound World Theatre Map Ambassador, I am working to expand the categories on the Map to be as inclusive and useful as possible.  Any questions or comments are very much appreciated and can be posted in the Map’s forum or sent to me directly.


I look forward to seeing you on the Map!


For more information contact:
Theatre Without Borders Next-Gen Member & HowlRound World Theatre Map Ambassador


Theatre Without Borders Map:

World Theatre Map website:

HowlRound Theatre Commons website:

CALL for PARTICIPANTS in Rediscoveries in One Act: New Approaches to Teatro Breve from the Spanish Golden Age

Join an interdisciplinary team exploring the Siglo de Oro’s instructive teatro breveone-act plays with potent clues for building better ways to teach, stage, and research the richest script library known to history.

Teatro breve from the Spanish Golden Age (c. 1580-1680) includes satires and saint’s plays, star vehicles and character studies, musicals and thrillers, current-events commentaries and gripping meditations on metatheater, written by big-name playwrights – the cream of Spanish stagecraft, compressed for effective study.

In this working session, you’ll get up close and personal with selected entremeses (comic plays presented between the acts of a comedia), autos sacramentales (multilevel meditations staged for public celebrations of Corpus Christi), and their dramatic ancestors, while making significant contributions toward understanding them.

You’ll develop practical applications for incorporating teatro breve into your current work, you’ll pay particular attention to music and movement as tools for building meaning into performances, and you’ll actively engage in assessing, creating, and premiering performance-friendly translations of historically important, theatrically powerful one-acts.

You’ll join one of three teams:  Team Entremés, Team Auto Sacramental, or Team Translation.  Guided by session leaders (see list below) who bring you seasoned experience in a wide range of modern language and theater researches, you’ll collaborate with team members (dramaturgs, practitioners, teachers, and translators from all sorts of backgrounds) to:

Ø    read three one-act plays from the Spanish Golden age, post initial responses on the session’s wiki, and help your team select one play for detailed study (June-July);

Ø    thoughtfully consider context and criticism materials posted by team leaders (July-August);

Ø    compare translations/editions of plays selected for close study, and pose questions about them from performance, pedagogy, or critical perspectives (August-September);

Ø    write a brief position paper or a draft translation in response to questions posed, post this paper/translation on the wiki, and respond to team members’ postings (September-October);

Ø    synthesize discussion points/translation results into a presentation designed actively to involve others at the conference (October-November), and

Ø    present/perform highlights from your research, hear other teams’ reports, and participate in moderated discussion during ATHE’s conference in Dallas (November 7-10).

To bid for a role in this groundbreaking journey through little-studied territory, write us a short statement (350 words) about the skills, interests, and/or experiences that attract you to our exploration of teatro breve.  Please include a brief bio (50 words).  Send your statement and bio as MS Word attachments to by June 3.

We hope to hear from you.  We assure you that complete newcomers to the field will be warmly welcomed.

Ben Gunter, Florida State University,

Karen Berman, Georgia College,

Ian Borden, University of Nebraska-Lincoln,

Nena Couch, Ohio State University,

David Pasto, Oklahoma City University,

Susan Paun de García, Denison University,

Kerry Wilks, Wichita State University,

Amy Williamsen, University of North Carolina Greensboro,

Jason Yancey, Grand Valley State University,



la mama presents :   Soulographie: Our Genocides

Tickets are now on sale for Soulographie: Our Genocides! Tickets are $18 Sunday through Friday November 11-16, and $27 per session for the Marathon Performances November 17-18. Call 212-475-7710 to purchase, or click on the links below!

Click Here to purchase for Sunday-Friday, Nov. 11-16.
Click here to purchase for the marathon performance sessions Saturday & Sunday, Nov. 17-18.

Soulographie is a durational performance event looking at 20th century America from the point of view of its relationship to genocides in the States (the Tulsa Race Riot), in East Africa (Rwanda, Uganda), and Central America (Guatemala, El Salvador). We aim to create channels of dialogue through art and conversation.

learn about Soulographie »

TeatroStageFest – June 1-25

TeatroStageFest – June 1-25

CELEBRATE the LATINO SCENE of NEW YORK at TeatroStageFest this June,  recommended by The Huffington Post only yesterday as  "…one of nine can't-miss arts and culture events happening across the country this summer!" (5/27/2012) 

 Entertaining theater, music and dance concerts, readings, master classes, puppetry and masks for kids.

Affordable fun for the entire family!


JUNE 1-25:   

  • 39 Defaults by Fifth Wall Theater: Come to Liz's apartment. Prepare for a voyeuristic experience in a living room, where two strangers wrestle with attraction and suspicion. He is a Spanish political activist and she hides a secret… In English.
  • Muerte Súbita (Sudden Death) by Bridge Playhouse: Andrés is passionately writing his third novel and refuses to leave the abandoned building where he lives with his girlfriend Gloria until it is finished. His old friend Odiseo's unexpected arrival forces them to accept that sometimes destruction is necessary before creation can begin. With English super-titles.
  • American Jornaleros by INTAR Theatre: On a street corner in Queens, day laborers waiting to be picked up for work collide with two citizen vigilantes fashioning themselves on the Minuteman Project; a collision that may lead to a better understanding of why both groups are standing on the same corner. In English.
  • rasgos asiáticos/asian traces by Pregones Theater: a courageous portrayal of love between four generations of Mexican women and the historic confluence of China, Mexico and the U.S. In English.
  • Pájaro (Bird) by Gallinero Culeko Two traveling men who meet on the open road are inspired by a bird's flight to build a machine that will lead them to a safer place. This comical show is performed in Clown style by two recent graduates of Escuela Nacional de Arte Teatral in Mexico City. No spoken word.
  • The Coleman Family's Omission by Claudio Tolcachir. One of the most successful dark comedies to emerge from the vibrant theater movement in Buenos Aires that captures the unique ties and contradictions of the eccentric Coleman family. In English.
  • The Golden Cacao Bean by Fantastic Experimental Latino Theater and  Alita the Show by Solos2 Company – two TeatroStageFamily shows.
  • Javier Moreno Trio gives new energy to the international Jazz vanguard, and Limón Dance Company's premiere of Come With Me, by renowned Brazilian choreographer Rodrigo Pedemeiras and Paquito D'Rivera, acclaimed Cuban composer/musician.
  • Master Classes for Actors and Directors by groundbreaking director/playwrights from Argentina: Claudio Tolcachir and Mati­as Umpierrez.

For the full calendar of events, times/place of the shows, and ticket prices visit 

For more info: 212.695.4010 

Karama Call for Entries 2012

Dear Collegues, Affiliates, Film makers and Karama Friends,

We would like to invite you to be part of Karama Human Rights Film Festival 3rd Edition 2012 organised by Ma3mal 612 Think Factory,  by asking you to circulate the Karama Call for Entries across your networks and if possible your websites and/or your facebook pages. Please refer to our website listed below to send your films and entry application.

Appreciating your precious collaboration.

Warm Regards,

Karama Team

Karama Human Rights Film Festival

Guest Lecture: Joanne Pottlitzer


The Ph.D. Program in Theatre and the DTSA

 invite you to attend


Guest Lecture

Symbols of Resistance: 
The Legacy of Artists Under Pinochet


Joanne Pottlitzer 


Joanne Pottlitzer, a two-time Obie Award recipient, is a freelance playwright and theatre director who has produced many Latin American plays in New York. In 1966 she founded TOLA (Theatre of Latin America, Inc.), a New York-based nonprofit organization that pioneered artistic exchange between the U.S. and Latin America. Her translations of plays by Mario Vargas Llosa, Marco Antonio de la Parra, Griselda Gámbaro and José Triana have been produced in New York and around the country, and she has taught courses on Latin American theatre at Yale School of Drama, NYU Tisch School of the Arts, and Hunter College, among others. Ms. Pottlitzer is the recipient of two senior Fulbright awards to Chile. Her lecture is based on her forthcoming book, Symbols of Resistance: The Legacy of Artists under Pinochet, about the influence of artists on the political process. In her talk, Pottlitzer capsulizes memories of theatre and music artists and members of the avanzada visual arts movement during 17 years of dictatorship in Chile, 1973-1990, and their strategies to create change.  


Thursday, April 19, 2012

4:15 PM

Theatre Program Green Room

(Room 3111)


Sponsored by a grant from the Doctoral Students' Council

National Association of Latino Arts and Cultures Fund for the Arts

National Association of Latino Arts and Cultures Fund for the Arts Invites Grant Applications From Artists and Arts Organizations

Grants of up to $20,000 will be awarded to NALAC member artists and arts organizations to use for fellowships, general operating support, and festivals, as well as performing, visual, and literary arts projects….

Posted on August 29, 2011
Deadline: September 24, 2011

TeatroStageFest is awarded $150,000 Grant from the Robert Sterling Clark Foundation‏


For Immediate Publication
Blanca Lasalle
(212) 684-6001 Ext 101
The Latino International Theater Festival of New York is awarded a $150,000 grant from the
Robert Sterling Clark Foundation to establish an
International Cultural Engagement Partnership with
SESC-São Paulo that will provide performance opportunities in Brazil for U.S. artists

Program launches on June 13, 2011 with Conference in New York
New York, NY, June 8, 2011 –  The Robert Sterling Clark Foundation has awarded the Latino International Theater Festival of New York, Inc. (LITF/NY) a grant of $150,000 to enable Theater, Dance and Music performers featured at TeatroStageFest 2011 (June 4-18) to participate in the inaugural International Cultural Engagement Partnership (ICEP) between LITF/NY and "Social Services of Commerce", known as SESC, Brazil's national private network of over 300 cultural and artistic centers, the largest in Latin America. SESC also runs a cable TV channel, recording label and a publishing company. Major funding from the Robert Sterling Clark Foundation and SESC-São Paulo, will allow ICEP traveling companies – José Limón Dance Company, La Criatura Theater Company and Bobby Sanabria and Quarteto Aché – to present in late summer a total of 18 performances, master classes and TalkBacks with local audiences and artists at 6 SESC venues in the city and state of São Paulo.

This marks a turning point for LITF/NY which also announces the 5th Anniversary edition of TeatroStageFest, taking place from June 4-18, 2011 throughout the City of New York. For the past five years, the festival has been the region's main window to visiting stage productions from Latin America, the Caribbean and Spain featured side-by-side with local artists. Since 2007, TeatroStageFesthas showcased 582 local and international artists in 80 productions, partnered with 43 presenting organizations, and sponsored dozens of free workshops and panel discussions, among other events. In a first time reciprocal move, the inaugural LITF/NY – SESC-São Paulo International Cultural Engagement Partnership will be creating performance opportunities abroad for New York Latino artists.

"The Latino International Theater Festival of New York's alliance with SESC is a milestone that will enable our festival to expand its reach to Latin America. We are thrilled to introduce to São Paulo's diverse audiences this outstanding performance series by New York-Latino artists that captures the essence of the TeatroStageFest experience," said Susana Tubert, Executive Director of TeatroStageFest and LITF/NY's Co-Founder.

A comprehensive research report titled Promoting Public and Private Reinvestment in Cultural-Exchange-Based Diplomacy created by Margaret C. Ayers, President of the Robert Sterling Clark Foundation, points to the fact that the United States can no longer afford to ignore the value that artistic and cultural engagement programs bring to foreign policy initiatives. The commitment of the Robert Sterling Clark Foundation in promoting regional and global investment in international arts engagement is a key aspect of the LITF/NY- SESC-SP alliance. "The Robert Sterling Clark Foundation considers it vital to develop sustainable relationships such as the International Cultural Engagement Partnership (ICEP) that will inspire new models of cooperation between artists and presenting organizations in the United States and Latin America," expressed Margaret C. Ayers, President and Chief Executive Officer of the Robert Sterling Clark Foundation.

When asked about the importance of the ICEP Partnership, Danilo Santos de Miranda, Regional Director of SESC cultural centers in São Paulo, said: "SESC-SP and TeatroStageFest will be spearheading a pivotal exchange of ideas on how U.S. and Brazilian institutions fund the presentation of culture to their respective audiences. This program marks the start of a strategic collaboration both onstage and behind the scenes that will enrich both of our institutions."

To celebrate the start of ICEP, TeatroStageFest is presenting a free round table discussion on June 13, 2011 at 6:30pm, hosted by the Americas Society, that will bring together Danilo Santos de Miranda, Regional Director of SESC-São Paulo, Margaret Ayers, President of the Robert Sterling Clark Foundation, and Larry Rohter, culture reporter for The New York Times and author of Brazil on the Rise. The discussion will provide an overview of SESC's notable arts funding model and the Foundation's vision of new funding mechanisms that will allow U.S. artists to perform overseas, and engage in long lasting collaborations. Susan Segal, CEO of the Council of the Americas and Susana Tubert, Executive Director and Co-Founder of LITF/NY will introduce the panelists and ICEP Program, respectively. The event has additional support from the Consulate General of Brazil in New York and The Americas Society.

TeatroStageFest encourages audiences to RSVP by visiting or emailing their reservations for the Conference by email to: Also, to follow the latest updates on the ICEP, visit the TeatroStageFest pages on Facebook and Twitter.

For all press inquiries, contact: Blanca Lasalle – CreativeLink, 212-684-6001 Ext. 101 /

About SESC

The Social Services of Commerce (SESC) model has been successfully incentivizing and democratizing access to a thriving arts and culture movement in Brazil since 1946. Funding for SESC is made possible through a tax law that mandates that every business contribute 1.5% of its total payroll into a SESC fund, which, in 2010, totaled nearly US$599 million. SESC provides free to subsidized tickets to artistic and cultural events, sports, education and social services nationwide. Under the direction of Danilo Santos de Miranda, SESC-Sao Paulo continues to play a leading role in Brazil by serving millions of citizens annually through its comprehensive scope of activities. –

About the Robert Sterling Clark Foundation

The Robert Sterling Clark Foundation currently supports nonprofit organizations conducting work in three program areas: Protecting Reproductive Rights, Improving the Performance of Public Institutions in New York, and a new initiative-Promoting International Arts Engagement. The objective of the arts initiative is to help develop global understanding in communities throughout the world that have limited contact with American culture, and to introduce American audiences to cultures that rarely are represented in the U.S. The initial plans are to support international engagement between U.S. visual and performing arts organizations and their counterparts in Latin America, Africa, and parts of the Middle East. –

About TeatroStageFest

TeatroStageFest is New York's premier artistic and cultural celebration of Great Theater for All Audiences! The festival's producing organization, Latino International Theater Festival of New York, Inc., has been presenting renowned international theater companies from Latin America, the Caribbean and Spain since 2007 to New York audiences citywide. This year's 5th anniversary edition will showcase from June 4-18, 2011 groundbreaking Theater, Dance, Music and Puppetry productions from New York and Ibero-America. For a full calendar of events, visit www.teat
or call 212-695-4010. TeatroStageFest is an Official Event of the NYC Latin Media and Entertainment Commission, and counts with support from American Airlines, and Principal Media Sponsors NY1, El Diario/La Prensa and Telemundo 47, among other partners. It is presented by the Latino International Theater Festival of New York, Inc. – 

WHAT: TeatroStageFest Conference: Brazil's unique arts funding model and the launch of the first institutional partnership between SESC-São Paulo and Latino International Theater Festival of New York, Inc.

WHEN: Monday June 13, 2011 at 6:30PM

WHERE: The Americas Society
680 Park Avenue (at 68th Street)

TICKETS: A free event. To reserve, email:
Indicate: Name of event/Number of tickets/Name of person making the reservation/phone number



e-misférica 8.1: Call for participation / Convocatoria para participación / Chamada para publicação‏

Querid@s colegas / Dear colleagues:

We invite you to send contributions for the Summer 2011 issue of
e-misférica, the journal of the Hemispheric Institute of Performance
and Politics. Please also forward the call to those who might be interest in participating.

L@s invitamos a que envíen colaboraciones para el número de verano del
2011 de e-misférica, la revista del Instituto Hemisférico de
Performance y Política. Por favor reenvíen también la convocatoria a quienes puedan estar
interesad@s en participar.

Gostaríamos de convidá-l@s a enviar colaborações para a edição de
verão 2011 de e-misférica, a revista do Instituto Hemisférico de
Performance e Política. Favor também encaminhar a chamada para outr@s possíveis interessad@s.

Saludos cordiales / Atenciosamente / Best regards

Kahlil Chaar-Pérez
Managing Editor
Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor
New York, NY 10003

Call for participation – e-misférica 8.1 – Manifestations

e-misférica invites scholarly essays, artist/activist presentations,
and reviews for its Summer 2011 issue entitled Manifestations. This
issue seeks to explore the practice and poetics of performance art in
Latin America. Under the rubric of “Manifestations” it will examine
the different institutional, aesthetic, and political genealogies of
Latin American performance art, which has been defined as "arte
acción," “arte no-objetual,” or “body art,” among other terms.  The
verb “to manifest” combines the many connotations of performance as
social practice: to reveal, to materialize, to make known to the
senses, and also—especially in Spanish—to protest and demonstrate.
This volume seeks to illuminate the dynamic “manifestations” of Latin
American performance art, asking how such work articulates the
different registers of aesthetic and political performance. What are
the referential fields—aesthetic, social, political—that performance
art has engaged and created? What different publics has performance
art conjured? How are these publics and these artistic practices
related to the interpellations of institutions (museums, publications,
schools), political projects, or the broader formations of nation and
state? What are the aesthetic geographies suggested by the
circulation, citations, and dialogues between performance art
practices? Is there a “Latin American” performance art, or an
aesthetic or political necessity for one?

e-misférica is the biannual, peer-reviewed, online journal of the
Hemispheric Institute of Performance and Politics, and is edited by
Jill Lane and Marcial Godoy-Anativia. Each issue is organized around a
theme that explores the relationship between performance and
politics in the Americas. The journal publishes scholarly essays and
multimedia presentations by artists, activists, and intellectuals, as
well as reviews of books, performances, and films.

All essays are peer reviewed, and should be 5000-7000 words. Reviews
are 800 words (up to 1500 for pieces covering more than one book,
performance, or film). Please submit completed essays by May 30, 2011.
To submit multimedia presentations and reviews, please contact the
editors with proposals by April 30, 2011. All final texts will be due
May 30, 2011. Proposals should include a brief description of the work
and the author's approach to it (150 words); a short author bio (100
words); and a link to a previously published writing sample, or an
unpublished writing sample as an attachment. Please see below for a
list of books open for review; we welcome additional suggestions. All
contributions, proposals, and consultations should be sent to the
editors to Contributions that do not follow the
editorial guidelines of the journal will not be considered for
publication.  Our guidelines and style sheet can be found in our
website: Advance
queries are most welcome.

Convocatoria para participación – e-misférica 8.1 – Manifestaciones

e-misférica invita a enviar ensayos académicos, presentaciones
artísticas/activistas y reseñas para su número de Verano del 2011
titulado Manifestaciones. Este número propone explorar la práctica y
la poética del arte de performance en América Latina. Bajo la rúbrica
de “Manifestaciones”, se examinarán las diferentes genealogías
institucionales, estéticas y políticas del arte de performance
latinoamericano, el cual ha sido definido como “arte acción”, arte
“no-objetual” o “arte corporal”, entre otros términos. El verbo
“manifestar” combina las múltiples connotaciones de la performance
como práctica social: la acción de revelar, materializar, transmitir a
los sentidos y también—especialmente en castellano—protestar y
demostrar. Este volumen se propone arrojar luz sobre las formas
dinámicas en las que se "manifiesta" el arte de performance
latinoamericano, preguntando de qué modos dicha práctica articula los
registros diferentes de la performance estética y política.  ¿Cuáles
son los campos referenciales—estéticos, sociales y políticos—que ha
abordado y creado el arte de performance? ¿Qué diferentes públicos ha
conjurado el arte de performance? ¿Cómo se relacionan estos públicos y
estas prácticas artísticas a las interpelaciones de instituciones
(museos, publicaciones y escuelas), proyectos políticos o a las
formaciones más amplias de la nación y el estado? ¿Qué geografías
estéticas sugieren la circulación, las citaciones y los diálogos entre
prácticas del arte de performance? ¿Existe una arte de performance
“latinoamericano” o la necesidad estética o política para una?

e-misférica, la revista en línea del Instituto Hemisférico, es una
publicación bianual editada por Jill Lane y Marcial Godoy-Anativia.
Cada número se organiza alrededor de un tema que explora la relación
entre performance y política en las Américas. La revista incluye
ensayos académicos y presentaciones multimedia de artistas, activistas
e intelectuales, así como reseñas de libros, performances y filmes.

Todos los ensayos pasan por un proceso de arbitración y deben tener
una extensión entre 5000 a 7000 palabras. Las reseñas deben ajustarse
a un máximo de 800 palabras (1500 para reseñas de más de un libro,
performance o film). La fecha límite para el envío de ensayos es el 30
de mayo del 2011.  Para las propuestas de presentaciones multimedios y
reseñas la fecha límite es el 30 de abril del 2011 y los textos
finales deben ser enviados en o antes del 30 de mayo.  Las propuestas
deben incluir una descripción breve de la obra y el acercamiento del
autor a la misma (150 palabras); un corto resumen biográfico del autor
(100 palabras); y un enlace a una publicación previa o un texto
inédito como archivo adjunto. Véase abajo una lista de libros posibles
para reseñar; invitamos sugerencias adicionales. Todas las consultas,
propuestas y contribuciones pueden ser enviadas a los editores a  Aquellas contribuciones que no sigan loslineamientos editoriales de la revista no serán considerados para
publicación.  Nuestros lineamientos y manual de estilo pueden ser
encontrados en:  Se
agradecen mucho los envíos por adelantado.


Chamada para publicação – e-misférica 8.1 – Manifestações

e-misférica está aceitando ensaios acadêmicos, apresentações
artísticas/ativistas e resenhas para o seu número de Verão 2011,
Manifestações. Este número explora a prática e a poética da
performance arte na América Latina. Sob a rubrica “Manifestações”, ele
examina as diferentes genealogias institucionais, estéticas e
políticas da performance arte latino-americana, que já foi chamada de
“arte ação”, arte “não objetual”, ou “body art”, entre outros termos.
O verbo “manifestar” combina as múltiplas conotações da performance
como prática social: a ação de revelar, de materializar, de tornar
sensível, e também — especialmente em Espanhol e Português — de
promover protestos e demonstrações. Este volume procura iluminar as
“manifestações” dinâmicas da performance arte latino-americana,
questionando de que maneira essa prática articula os diferentes
registros da performance estética e política. Quais são os campos de
referencia — estéticos, sociais, políticos — com os quais a
performance arte tem se engajado e quais ela tem criado? Que
diferentes públicos a performance arte tem conjurado? Qual a relação
entre esses diversos públicos e práticas artísticas e as interpelações
das instituições (museus, publicações, escolas), dos projetos
políticos ou das formações de nação e estado num sentido mais amplo?
Quais geografias estéticas são sugeridas pela circulação, pelas
citações e pelos diálogos entre as práticas da performance arte?
Existe uma performance arte “latino-americana”, ou existe a
necessidade estética ou política de uma?

e-misférica, a revista online do Instituto Hemisférico, é uma
publicação semestral editada por Jill Lane e Marcial Godoy-Anativia.
Cada edição gira em torno de um tema, explorando a relação entre
performance e política nas Américas. A revista inclui ensaios
acadêmicos e apresentações multimídia de artistas, ativistas e
intelectuais, assim como resenhas de livros, performances e filmes.

Todos os ensaios passam por um processo de avaliação, e devem ter
entre 5000 e 7000 palavras. As resenhas devem ter no máximo 800
palavras (1500 para resenhas de mais de um livro, performance ou
filme). A data limite para o envio de ensaios é 30 de maio de 2011.
Para contribuir com apresentações multimídia e resenhas, favor enviar
uma proposta para os editores até 30 de abril de 2011, e a data limite
para a versão final dos trabalhos é 30 de maio de 2011. As propostas
devem incluir uma breve descrição do trabalho e a perspectiva do autor
sobre ele (150 palavras); uma curta biografia do autor (100 palavras);
e um link para um texto publicado do autor, ou um texto inédito como
anexo. Confira abaixo uma lista de possibilidades de livros para
resenhar, e nós estamos abertos a outras sugestões. Todas as
contribuições, propostas e perguntas devem ser enviadas para os
editores no endereço Contribuições que não se
adequem aos critérios editorias da revista não serão consideradas para
publicação. Os nossos critérios editoriais e a nossa folha de estilo
podem ser encontrados no nosso website: O envio de
materiais antes da data limite é muito bem vindo.


Anderson, Patrick. So Much Wasted: Hunger, Performance, and the
Morbidity of Resistance. Durham, NC: Duke University Press, 2010.

Bailes, Sarah Jane. 2010. Performance Theatre and the Poetics of
Failure. London: Routledge.

Balsamo, Anne M. Designing Culture: The Technological Imagination at
Work. Durham [NC: Duke University Press, 2011. Print.

Bixler, Jacqueline E, and Laurietz Seda. Trans/acting: Latin American
and Latino Performing Arts. Lewisburg: Bucknell University Press,
2009. Print.

Blanco, Cano R. Cuerpos Disidentes Del México Imaginado: Cultura,
Género, Etnia Y Nación Más Allá Del Proyecto Posrevolucionario.
Madrid: Iberoamericana, 2010. Print.

Blomberg, Nancy J. 2010. Action and Agency: Advancing the Dialogue on
Native Performance Art. Denver: Denver Art Museum.

Blessing, Jennifer, Nat Trotman, Peggy Phelan, Lisa Saltzman, and
Nancy Spector. Haunted: Contemporary Photography, Video, Performance.
New York, N.Y: Guggenheim Museum Publications, 2010. Print.

Bornstein, Kate, and S B. Bergman. Gender Outlaws: The Next
Generation. Berkeley, Calif: Seal Press, 2010. Print.

Bowditch, Rachel. On the Edge of Utopia: Performance and Ritual at
Burning Man. London: Seagull Books, 2010. Print.

Broadhurst, Susan, and Josephine Machon. Performance and Technology:
Practices of Virtual Embodiment and Interactivity. Basingstoke:
Palgrave Macmillan, 2011. Print.

Cohen-Cruz, Jan. 2011. Engaging Performance: Theatre as Call and
Response. London: Routledge.

D. Savitri and Bill Talen, Ed. Alisa Solomon. The Reverend Billy
Project: From Rehearsal Hall to Super Mall with the Church of Life
After Shopping. University of Michigan Press, 2011. Print.

Dubatti, Jorge, and Lello L. Di. Metáforas De La Argentina En Veinte
Piezas Teatrales, 1910-2010. Gorini: Ediciones del CCC, Centro
Cultural de la Cooperación Floreal Gorini, 2010. Print.

Escobar, Ticio, and Nelly Richard. Trienal De Chile 2009: Catálogo.
Santiago, Chile: Fundación Trienal de Chile, 2009. Print.

Ferrer, Rita. ¿quién Es El Autor De Esto?: Fotografía Y Performance.
Santiago, Chile: Ediciones de la Hetera, 2010. Print.

Finley, Karen. The Reality Shows. New York: Feminist, 2010. Print.

Fleetwood, Nicole R. Troubling Vision: Performance, Visuality, and
Blackness. Chicago: University of Chicago Press, 2011. Print.

George-Graves, Nadine. Urban Bush Women: Twenty Years of African
American Dance Theater, Community Engagement, and Working It Out.
Madison, Wis: University of Wisconsin Press, 2010. Print.

Global Visual Cultures. Representation, Place, Power. Oxford:
Blackwell Publishers, 2011. Print.

Gomez-Peña, Guillermo and Roberto Sifuentes. 2011. Exercises for Rebel
Artists: Radical Performance Pedagogy. London: Routledge.

Grenier, Christine. 2010. Corpo em crise, O – Novas pistas e o
curto-circuito das representações. São Paulo, Brazil: Annablume
Editora. Print.

Hellier-Tinoco, Ruth. Embodying Mexico: Tourism, Nationalism, and
Performance. New York: Oxford University Press, 2011. Print.

Henderson, Carol E. Imagining the Black Female Body: Reconciling Image
in Print and Visual Culture. Basingstoke: Palgrave Macmillan, 2011.

Hurley, Erin. National Performance: Representing Quebec from Expo 67
to Céline Dion. Toronto: University of Toronto Press, 2011. Print.

Iverson, Margaret. 2010. Chance. Cambridge, MA: MIT Press.

Jackson, Shannon. 2011. Social Works: Performing
Art, Supporting
Publics. London: Routledge.

Jones, Amelia. The Feminism and Visual Culture Reader. London:
Routledge, 2010. Print.

Kac, Eduardo, and Rico M. A. Crespo. Telepresencia y Bioarte. Murcia:
CENDEAC, Centro de Documentación y Estudios Avanzados de Arte
Contemporáneo, 2010. Print.

Kekejian, Hernando M. ¿41 Creadores De La Nueva Escena Madrileña Se
Equivocan? =: Are 41 Creators from the Madrid Scene Mistakes?Madrid:
La Casa Encendida, 2010. Print.

Lacy, Suzanne, Moira Roth, and Kerstin Mey. Leaving Art: Writings on
Performance, Politics, and Publics, 1974-2007. Durham: Duke University
Press, 2010.

Lerman, Liz. 2011. Hiking the Horizontal: Field Notes From A
Choreographer. Middletown, CT: Wesleyan University Press. Print.

Margolles, Teresa, Cuauhtémoc Medina, and Taiyana Pimentel. Teresa
Margolles: ¿de Qué Otra Cosa Podríamos Hablar? México, D.F: Editorial
RM, 2009. Print.

McCalman, Iain, and Paul A. Pickering. Historical Reenactment: From
Realism to the Affective Turn. Basingstoke: Palgrave Macmillan, 2010.

Oliver, Valerie Cassel, Glenn Adamson and Namita Wiggers. 2010. Hand +
Made: The Performative Impulse in Art and Craft. Contemporary Arts
Museum Houston.

Perales, Rosalina. Me Llaman Desde Allá: Teatro y Performance De La
Diáspora Puertorriqueña. Puerto Rico: s.n., 2010. Print.

Rivera-Servera, Ramón H, and Harvey Young. Performance in the
Borderlands. New York, NY: Palgrave Macmillan, 2011. Print.

Rizk, Beatriz J, and Nelsy Echávez-Solano.Paradigmas Recientes En Las
Artes Escénicas Latinas Y Latinoamericanas =: Current Trends in Latino
and Latin American Performing Arts : Homenaje Al Festival
Internacional De Teatro Hispano De Miami = a Tribute to the
International Hispanic Theatre Festival of Miami. Miami, Fla:
Ediciones Universal, 2010. Print.

Sánchez, Lícia Maria Morais. 2010. Memória da Dramaturgia no Teatro
Dança, A. São Paulo, Brazil: Editora Perspectiva.

Sant, Toni. Franklin Furnace & the Spirit of the Avant-Garde: A
History of the Future. Chicago: Intellect, 2010. Print.

Schneider, Rebecca. 2011. Performing Remains: Art and War in Times of
Theatrical Reenactment. London: Routledge.

Smith, Cherise. Enacting Others: Politics of Identity in Eleanor
Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith. Durham, NC:
Duke University Press, 2011. Print.

Stanley-Niaah, Sonjah N. Dancehall: From Slave Ship to Ghetto. Ottawa:
University of Ottawa Press, 2010. Print.

Tania, Alice. 2010. Performance.ensaio : desmontando os clássicos. Rio
de Janeiro RJ: Confraria do Vento.

Tribe, Mark, Rebecca Schneider, and Nato Thompson. The Port Huron
Project: Reenactments of New Left Protest Speeches. Milano: Charta,
2010. Print.

Tribe, Mark. Mark Tribe: The Port Huron Project. Milan: Charta Art, 2010. Print.

Veneciano, Jorge Daniel and Rhonda K. Garelick, Eds. 2010. Fabulous
Harlequin: Orlan and the Patchwork Self. University of Nebraska Press.

Ventura, Susana. Bad Reputation: Performances, Essays, Interviews. Los
Angeles: Semiotext(e), 2009. Print.

Whybrow, Nicolas. Performance and the Contemporary City: An
Interdisciplinary Reader. Basingstoke, Hampshire [England: Palgrave
Macmillan, 2010. Print.

Young, Harvey. Embodying Black Experience: Stillness, Critical Memory,
and the Black Body. Ann Arbor: University of Michigan Press, 2010.

Walsh, Fintan. 2010. Male Trouble: Masculinity and The Performance of
Crisis. Palgrave MacMillan.

Yovanovich, Gordana, and Amy Huras. Latin American Identities After
1980. Waterloo, Ont: Wilfrid Laurier University Press, 2010. Print.