Examines Argentina’s most iconic female figures, from saints to pop singers, politicians to anarchists

No Latin American woman has ever elicited such extreme feelings of love and hate as Eva Perón. She was an actress of humble origins who fell in love with and married the soon-to-be president of Argentina, Juan Domingo Perón. Evita, as she was fondly known, became the most powerful woman in Argentine history. Adored by the masses and loathed by the bourgeoisie, Evita polarized Argentine society. Not even her death could put an end to the mixed feelings she aroused during her lifetime, and Evita remains till this day a controversial figure. Eva Perón: A Reference Guide to Her Life and Works captures Evita’s eventful life, her works, and her legacy. The volume features a chronology that includes her childhood, her acting career, her trip to Europe, her political activity, her illness, and her death, as well as more recent events that have memorialized her. While an introduction offers a brief account of her life, a dictionary section lists entries on people, places, and events related to her. A comprehensive bibliography offers a list of works by and about Evita. Finally, a filmography includes the movies in which Evita appeared and the TV series and films that have been made about her.

This book provides key critical tools to significantly broaden the readers’ perception of theatre and performance history: in line with posthuman thought, each chapter engages Actor-Network Theory and similar theories to reveal a comprehensive range of human and non-human agents whose collaborations impact theatre productions but are often overlooked. The volume also greatly expands the information available in English on the networks created by several Argentine artists. Through a transnational, transatlantic perspective, case studies refer to the lives, theatre companies, staged productions, and visual artworks of a number of artists who left Buenos Aires during the 1960s due to a mix of personal and political reasons. By establishing themselves in the French capital, queer playwright Copi and directors Jorge Lavelli, Alfredo Arias, and Jérôme Savary, among others, became part of the larger group of intellectuals known as “the Argentines of Paris” and dominated the Parisian theatre scene between the 1980s and 90s. Focusing on these Argentine artists and their nomadic peripeteias, the study thus offers a detailed description of the complexity of agencies and assemblages inextricably involved in theatre productions, including larger historical events, everyday objects, sexual orientation, microbes, and even those agents at work well before a production is conceived.

The crafts of governance and diplomacy are spectacular, theatrical, and performative. Performing Statecraft investigates the performances of states, their leaders, and their citizens on an expanded field of the global arts of statecraft to consider the role of performance in the domestic and international affairs of states, and the interventions into global politics by artists, scholars, and activists. Treating theatre as both an art form and a practice of political actors, this book draws together scholarship on the embodied dimensions of governance, the stagecraft of revolution, arts activism on the world stage, sports performance by heads of state, the performativity of national dress, speechmaking and colonialism, war and medicine, singing diplomats, indigenous sovereignties, and performed nationalisms. It brings the perspective and methods of performance studies to bear on global politics, offering exciting new insights into encounters between states, sovereigns, and people. Whether one is watching a campaign speech, a nightly news broadcast, a sacred dance, or a play about global conflict, these chapters make clear the importance of performance as a tool wielded by amateurs and professionals to articulate the nation in global spaces.

This thoughtful text describes how Latin America's authoritarian culture has been and continues to be reflected in a variety of governments, from the near-anarchy of the early regional bosses (caudillos), to all-powerful personalistic dictators or oligarchic machines, to contemporary mass-movement regimes like Castro's Cuba or Peron's Argentina. Taking a student-friendly chronological approach, Paul Lewis also analyzes how the internal dynamics of each historical phase of the region's development led to the next. He describes how dominant ideologies of the period were used to shape, and justify, each regime's power structure. Balanced yet cautious about the future of democracy in the region, this accessible book will be invaluable for courses on contemporary Latin America.

In this work examining Argentine theatre over the past four decades and drawing on contemporary research, Noe Montez considers how theatre can serve as activism and alter public reception to a government addressing human rights violations by its predecessor.

Adapting Translation for the Stage presents a sustained dialogue between scholars, actors, directors, writers, and those working across boundaries, exploring common themes encountered when writing, staging, and researching translated works.

Performances as feminist, queer, and trans activism, from theater and flash mobs to street protests and online manifestos

The Routledge Companion to Theatre and Performance Historiography sets the agenda for inclusive and wide-ranging approaches to writing history, embracing the diverse perspectives of the twenty-first century and Critical Media History. Written by an international team of authors whose expertise spans a multitude of historical periods and cultures, this collection of fascinating essays poses the central question: "what is specific to the historiography of the performative?" The study of theatre, in conjunction with the wider sphere of performance, involves an array of multi-faceted methods for collecting evidence, interpreting sources, and creating meaning. Reflecting on issues of recording — from early modern musical scores, through VHS-technology to latest digital procedures — and on what is missing from records or oblique in practices, the contributors convey how theatre and performance history is integral to social and cultural relations. This expertly curated collection repositions theatre and performance history and is essential reading for Theatre and Performance Studies students or those interested in social and cultural history more generally.