Theatrical practice in Latin America predates the European conquest, and since the conquest has been a site for the expression of new cultural formations, often enacting or contesting prevailing systems of power. As in the field of theater studies generally, the term “theater” encompasses a range of performance practices, and overlaps in key periods with religious rites, political spectacle, festival, social and modern dance, performance art, and popular culture forms. Major concerns of the field include asking how European-based dramatic forms have been reinvented through their continuous interaction with indigenous and African cultural forms, and vice versa; what are the meanings of modernist and post-modernist dramatic forms in societies where modernity is an unstable context; how theater practitioners have transformed traditional forms of theater into an activist “Theatre of the Oppressed”; and what role theater plays in the contemporary neoliberal moment. While scholarship on theater in Latin America dates to the early 20th century, the field of Latin American theater studies—which defines its object of study as theater from the entire region—emerged alongside Popular Theater practice of the 1960s and 1970s, which similarly understood itself as a continental project. Both practice and scholarship, forged in the context of the Cold War, embraced a socially critical stance in favor of the working classes (the “popular” classes), understood theater as a vehicle for social change, and believed that shared Latin American aesthetics and methods were emerging. The field has retained this fundamental interest in the social and political dimensions of theater and has responded to the changing geopolitics of the region. A significant development in the field was the shift in the 1990s from a continental to a hemispheric frame. The hemispheric orientation sought, on one hand, to reshape disciplinary boundaries that rendered the formative, and often repressive, relation between the United States and its southern neighbors invisible; on the other, it affirms shared histories, culture, and aesthetics between US Latinx and Latin American communities and artists. This bibliography addresses the history, theories, and practices of Latin American theater studies and maps its changing disciplinary boundaries and thematic concerns over time. The periodization is intentionally loose. For example, works related to revolutionary aesthetics and the politics of the body are concentrated in the 1960s and 1990s respectively, but these represent threads in both practice and scholarship that continue well past those dates.
James Bond’s Biopolitics
