"One of Cuba's most important contemporary playwrights, Abel González Melo is known for a hybrid poetics in which he employs contemporary formal features, such as non-linear storytelling and flashbacks, interwoven with elements from the classical tradition in order to stage the ignoble realities of postmodern life. " (Lillian Manzor, University of Miami) Born in Havana in 1980, Abel González Melo is a rare example of a contemporary Cuban playwright whose work is performed and celebrated not only in Cuba, but also in the US, the Americas more widely, Europe, and beyond. Investigating a raft of national and universal themes, such as queer sexuality, the dilemma of leaving or remaining, political power and censorship, family dynamics, the ambition and responsibility of the artist, and so-called 'cancel culture', González Melo's work is international and universal in scope. The result of a 20-year collaboration with translator William Gregory, this collection of six plays surveys González Melo's eclectic two-decade career: from his beginning with earlier works exploring the pulsing underworld of early-2000s Havana in Chamaco and Nevada, through to his most recent takes on theatre and its intersection with contemporary issues in Tell Me the Whole Thing Again and Abyss. Complete with an edited introduction by Ernesto Fundora and a translator's note from Gregory, Selected Plays by Cuban Playwright Abel González Melo explores not only González Melo's oeuvre but also his distinctive stylistic and aesthetic variety, gained from living in both Spain and Cuba.

"One of Cuba's most important contemporary playwrights, Abel González Melo is known for a hybrid poetics in which he employs contemporary formal features, such as non-linear storytelling and flashbacks, interwoven with elements from the classical tradition in order to stage the ignoble realities of postmodern life. " (Lillian Manzor, University of Miami) Born in Havana in 1980, Abel González Melo is a rare example of a contemporary Cuban playwright whose work is performed and celebrated not only in Cuba, but also in the US, the Americas more widely, Europe, and beyond. Investigating a raft of national and universal themes, such as queer sexuality, the dilemma of leaving or remaining, political power and censorship, family dynamics, the ambition and responsibility of the artist, and so-called 'cancel culture', González Melo's work is international and universal in scope. The result of a 20-year collaboration with translator William Gregory, this collection of six plays surveys González Melo's eclectic two-decade career: from his beginning with earlier works exploring the pulsing underworld of early-2000s Havana in Chamaco and Nevada, through to his most recent takes on theatre and its intersection with contemporary issues in Tell Me the Whole Thing Again and Abyss. Complete with an edited introduction by Ernesto Fundora and a translator's note from Gregory, Selected Plays by Cuban Playwright Abel González Melo explores not only González Melo's oeuvre but also his distinctive stylistic and aesthetic variety, gained from living in both Spain and Cuba.

“He said, 'The day will come when they don't cut our heads off in front of people.' And I asked him, 'Why?' And he said, 'Because we'll cut them off ourselves.'” A lecturer in Chile. A study group in the USA. A guard in the desert. A hangman in Mexico. A woman who won't stop dancing in Peru. Pablo Manzi's darkly comic odyssey across the Americas explores whether violence brings us closer together and what it takes to make a community. A Fight Against... marks the English-language debut of one of Chile's most significant new voices. It was developed on a residency at the Royal Court Theatre, London, where it premiered in December 2021 in the Jerwood Theatre Upstairs.

Theatre in Pieces: politics, poetics and interdisciplinary collaboration is an innovative compilation of seven highly acclaimed productions by key practitioners of non-playwright-driven theatre. Each playtext is reproduced in full and accompanied by extensive notes from members of the original producing theatre. A substantial introduction by Anna Furse provides an overview of the works and contextualises their reading by revealing how a script can emerge from or provoke a collaborative devising process. The works featured include: Hotel Methuselah, Imitating the Dog/Pete Brooks; Don Juan.Who?/Don Juan.Kdo?, Athletes of the Heart; A Girl Skipping, Graeme Miller; Trans-Acts, Julia Bardsley; US, 1966 (with an introduction by Peter Brook); Miss America, Split Britches and 48 Minutes for Palestine, Mojisola Adebayo and Ashtar Theatre.

The collapse of the Soviet Union in 1989 drastically altered life in Cuba. Theatre artists were faced with new economic and social realities that changed their day-to-day experiences and ways of looking at the world beyond the island. The Cuban Revolution’s resistance to and intersections with globalization, modernity, emigration and privilege are central to the performances examined in this study. The first book-length study in English of Cuban and Cuban American plays, Cuba Inside Out provides a framework for understanding texts and performances that support, challenge, and transgress boundaries of exile and nationalism. Prizant reveals the intricacies of how revolution is staged theatrically, socially, and politically on the island and in the Cuban diaspora. This close examination of seven plays written since 1985 seeks to alter how U.S. audiences perceive Cuba, its circumstances, and its theatre.

Beginning with Number 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research underway in specialized areas.

This is where the world began. This was Caesar's highway. Hannibal's road to glory. These were the trading routes of the Phoenicians and the Carthaginians, the Ottomans and the Byzantines . . . We all come from the sea and back to the sea we will go. The Mediterranean gave birth to the world. Step into the shoes of those whose job it is to enforce our harsh new rules: an Italian coastguard and a payday lender from Leeds. How do they do it? And what happens to them? Lampedusa is a powerful play about immigration and welfare. This edition was published to coincide with the premiere at the Soho Theatre, London, on 8 April 2015, as part of the Soho Theatre's season of Politics.

"This volume examines how queer bodies are theatrically represented on the Cuban stage in ways that challenge the state's categorization and homogenization of individuals. Bretton White critically analyzes contemporary performances that upset traditional understandings of what constitutes the ideal Cuban citizenry"--

"Quiz Show: Everyone's favourite quizmaster, Daniel Caplin, gives tonight's gifted contestants the chance to play for the ultimate prize -- to discover what lies behind the Door of Truth. Newcomer Sandra has always been desperate to find out and she's more than a threat to our reigning champion. Bullet Catch: The Bullet Catch stunt has claimed many lives since its conception in 1613 and even Houdini refused to attempt it."--Page 4 of cover.

The acclaimed author of The Hottest Dishes of the Tartar Cuisine “explores the peculiarities of familial relations to tremendous result” (Asymptote). A Lit Hub Most Anticipated Book of 2021 Max lives with his grandparents in a residential home for refugees in Germany. When his grandmother—a terrifying, stubborn matriarch and a former Russian primadonna—moved them from the Motherland it was in search of a better life. But she is not at all pleased with how things are run in Germany: the doctors and teachers are incompetent, the food is toxic, and the Germans are generally untrustworthy. His grandmother has been telling Max that he is an inept, clueless weakling since he was a child and she’d spend the day sitting in the back of his classroom to be sure he came to no harm. While he may be a dolt in his grandmother’s eyes, Max is bright enough to notice that his stoic and taciturn grandfather has fallen hopelessly in love with their neighbor, Nina. When a child is born to Nina that is the spitting image of Max’s grandfather, things come to a hilarious if dramatic head. Everybody will have to learn to defend themselves from Max’s all-powerful grandmother. Alina Bronsky, author of The Hottest Dishes of the Tartar Cuisine, writes of family dysfunction and machinations with a droll and biting humor, a tremendous ear for dialog, and a generous heart that is forgiving of human weakness. “[A] comic feel-bad novel. Bronsky has a Dickensian flair for writing about miserable children—or, rather, the miseries of childhood.” —Vulture