| Readings
Texts in NYU
Bookstore:
Marguerite Fietlowitz, Information for Foreigners: Three Plays by
Griselda Gambaro _ Augusto Boal, Theatre of the Oppressed, Diana
Taylor, The Archive and the Repertoire. Duke U.P. 2003
DianaTaylor and Roselyn Constantino, Holy Terrors: Latin American
Women Perform. Duke UP, 2003
Coco Fusco, Corpus Delecti: Performance Art of the Americas. Routledge,
2000
Diana Raznovich, Defiant Acts; Four plays by Diana Raznovich (bilingual),
edited by Diana Taylor and Victoria Martínez (optional).
On Reserve:
Larson, Catherine, and Margarita Vargas. Latin American Women Dramatists.
Indiana U.P. 1998.
Neustadt, Robert. CADA Dia: La creacion de un arte social. Chile,
Editorial Cuarto Propio, 2001.
Taylor, Diana (ed). Defiant Acts/Actos Desafianted: Four Plays by
Diana Raznovich (Bilingual), (edited Diana Taylor and Victoria Martinez),
Lewisburg: Bucknell University Press. 2002.
Negotiating Performance: Gender, Sexuality & Theatricality in
Latin/oAmerica. Ed. Diana Taylor and Juan Villegas. Durham: Duke University
Press, 1994.
Underiner, Tamara. Death-Defying Acts: Contemporary Theatre in Mayan
Mexico. Austin: University of Texas press, 2004.
Uno, Roberta, ed. The Color of Theater: Race, Ethnicity and Contemporary
Performance. London: Athlone, 2001.
Versenyi, Adam. Theatre in Latin America. Cambridge UP,
Weiss, Judith et al., Latin American Popular Theatre. Univ. of New
Mexico Press, 1993.
web cuaderno:
Holy
Terrors: Latin American Women Perform
Class 1.
Introduction: Terminology—theatre, performance
Diana Taylor, The Archive and the Repertoire, Ch 1. “Acts
of Transfer”
Paul Connerton, How
Societies Remember, Ch. 3, Bodily Practices” (pdf )
Joseph Roach, “Culture
and Performance in the Circum-Atlantic World,” (pdf).
Class 2.
The Making of Latin American Theatre
Theatre of Crisis, Introduction
and Chapter One.
Ngugi wa Thiong’o: “
Enactments of Power”
Coco Fusco,
The Other History of Intercultural Performance
Video: The Couple in the Cage.
Class 3.
Theatre and/of Revolution
Latin America in the wake of the Cuban Revolution--the political,
theatrical and activist context
Diana Taylor, Theatre of Crisis, Ch. 2 “Theatre
and Revolution”
José Triana, "The
Assassins" (pdf in english), "Los
Asasinos"(pdf in spanish)
Brecht, "Short
Organum for the Theatre" (pdf)
Class 4. Theatre
and Terror
special guest: Marlene Ramirez Cancio
Diana Taylor, Theatre of Crisis, ch 5 "Destroying
the Evidence: Enrique Buenaventura"
Buenaventura, "Theatre
& Culture" (pdf) and "El
arte no es lujo" (pdf)
Plays: The
School Teacher, (pdf )
The Orgy (pdf ), The
Twisted State (pdf)
Boal: Theatre of the Oppressed (in Bookstore) and “Using
Performance to Make Politics”(pdf)
Althusser, "The
‘Piccolo Teatro,’ (pdf)
Oct 9, Columbus Day NO CLASS
Class 5. Theatre
of the Oppressed
Taylor, Theatre of Crisis, Ch 3, "Theatre
and Terror".
Griselda Gambaro, “The
Camp,” (pdf) El
campo (pdf)
Griselda Gambaro, “Information
for Foreigners” (in Feitlowitz)/
Información para extranjeros (pdf)
Eduardo Pavlovsky, Impunity(pdf
in English) Potestad
(pdf in Spanish)
Ariel Dorfman, Death
and the Maiden (pdf in English) Muerte
(pdf in Spanish)
Class 6. Theatre
and Trauma
pecial guest: Mila Aponte
Diana Taylor, "Staging Social Memory: Yuyachkani" (in
Archive and Repertoire)
Grupo Cultural Yuyachkani, “Adios
Ayacucho” (pdf )and Antigona
(pdf).
Theatre as a Form of Testimony: Cathy Caruth, Intro
Trauma: Explorations in Memory (pdf)
Dori Laub: "Truth
and Testimony: The Process and the Struggle" (pdf)
Class 7. ‘Disappearance’
and Performance
Short Reflection piece (post online)--The role of art in
a context of criminal politics; the role of the spectator, by-stander
and witness in spectacles of terror
Lotty Rosenfeld, “Operations,” (in Fusco, Corpus Delecti,
219-20)
Nelly Richard, "Margins and Institutions: Performance of the
Chilean Avanzada" (in Fusco, Corpus Delecti, 203-218)
Francisco Casas, "Las Yeguas del Apocalipsis" (in Fusco,
Corpus Delecti, 221-222)
Dana Taylor, “Trapped
in Bad Scripts, The Mothers of Plaza de Mayo” (pdf)
Madres de la Plaza de Mayo (video)
Teatro Abierto (Teatro Abierto, Pais Cerrado, video)
CADA, Performance
under Pinochet
Class 8.
Performance in the 1980s and 90s:
Overview: _Soto, "Performance in Cuba in the 1980s" (in
Fusco, Corpus Delecti, 266-274),
“Unimagined Communities,” Taylor and Constantino, Intro
to Holy Terrors.
Performance art in Mexico: Maris Bustamente, “Non-Objective
Arts in Mexico 1963-83) in Fusco, Corpus Delecti, 225-239
Felipe Ehrenberg, “The Street and its Conditions” in
Fusco, Corpus Delecti, 223-4.
Solo Performance: Denise Stoklos CASA (in Holy Terrors), and Mary
Stuart (pdf).
Diana Taylor, "The Politics of Indecipherability" (Archive
and Repertoire),
Leslie Damasceno, "The Gestural Art of Reclaiming Utopia: Denise
Stoklos at Play with the Hysterical-Historical’ (in Holy Terrors)
Class 9. Spectacles
of Gender and Sexuality
Sabina Berman, “The Moustache” in “The Agony of
Ecstasy” (in Holy Terrors)
“El bigote”
from “El Suplicio del Placer” (pdf)
Diana Raznovich, Personal Belongings (Efectos Personales)
MaTRIX, Inc
(pdf) (Casa
Matriz) (pdf) plus all readings in Holy Terrors.
Class 10. Political
Terrors:
Jesusa Rodriguez, Astrid Hadad, Videos and all related readings
from Holy Terrors plus Costantino,
"Visibility as Strategy: Jesusa Rodriguez’s Body in Play"
(in Fusco, Corpus Delecti) See too, web cuaderno, Holy
Terrors.
Class 11. Native
Performance and Political Efficacy:New Strategies for the 1990s
and the new millenniu.
FOMMA, The Demon Nun
(pdf),
Cynthia Steele, “A
Woman Fell Into the River” about FOMMA (pdf)
Tamara Underiner, “Mas que una noticia: Mayan Theatre in Chiapas.”
In Death Defying Acts (on reserve)
Teresa Marrero, “Eso Sí Pasa Aqui: Indigenous Women
Performing Revolutions in Mayan Chiapas” (in Holy Terrors).
Digital Zapatismo,
Jill Lane (pdf)
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