From Ushuaia, the southernmost town in the world to the edges of the great Paraná river, and from the city of Buenos Aires to its fertile plains and the estuaries of northern Argentina, The Oberon Anthology of Contemporary Argentinian Plays provides a unique insight into the preoccupations and the creative responses of one of the major theatre-producing countries in Latin America. Includes the plays: La vida extraordinaria (Extraordinary Life) by Mariano Tenconi Blanco, translated by Catherine Boyle Pato verde (Green Duck) by Fabián Miguel Díaz, translated by Gwen MacKeith Fonavi by Leonel Giacometto, translated by Rosalind Harvey Nou Fiuter (No Future) by Franco Calluso, translated by William Gregory Poema ordinario (Poor Men's Poetry) by Juan Ignacio Fernández, translated by William Gregory Fuego de dragón sobre dragón de madera (Dragon Fire over Wood Dragon) by Candelaria Sabagh, translated by Kate Eaton

"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.

A unique anthology bringing together stories of queer life from international playwrights, these seven plays showcase the dazzling multiplicity of queer narratives across the globe: the absurd, the challenging, and the joyful. From the legacy of colonialism in India to the farcical bureaucracy of marriage law in Kosovo; from a school counsellor in Taiwan coming out as HIV+, to coming of age in an Israel-Palestine coexistence camp, this is a genre-spanning collection of global writing. Contempt by Danish Sheikh (India) 55 Shades of Gay by Jeton Neziraj, translated by Alexandra Channer (Kosovo) No Matter Where I Go by Amahl Khouri (Jordan) Only the End of the World by Jean-Luc Lagarce, translated by Lucie Tiberghien (France) Taste of Love by Zhan Jie, translated by Jeremy Tiang (Taiwan) Peace Camp Org by Mariam Bazeed (Egypt) Winter Animals by Santiago Loza, translated by Samuel Buggeln and Ariel Gurevitch (Argentina) Originally selected and performed as part of the Arcola Queer Collective's Global Queer Plays call-out event.

Two profane aliens have landed in the Southern town of Hillsbottom. Is God watching? Does he care? Is God a He? Mac Wellman addresses these and other questions in this Obie Award-winning play that skewers the social malignancy of ignorance. In 2003, The Village Voice gave a Lifetime Achievement Award to Mac Wellman: "... [he] has long situated himself on the frontier of new forms. He's not only an experimental dramatist of the first rank, but also an eloquent champion of the avant-garde ... Like Beckett's characters, the figures in his work inhabit both a purely theatrical world and a space that will not let you forget the social realities compounding the existential mystery." "In SINCERITY FOREVER, Mac Wellman's savage comedy about everyday lunacies in America, two adolescent girls in a dirt-poor Southern town calmly accept the order of the universe. God must have a plan, says one, or why else would He keep both of them 'ignorant forever in absolute sincerity.' Like everyone else in Hillsbottom, the two are wearing Ku Klux Klan costumes. They are blissful in their brainlessness, confessing they cannot tell good art from bad art and do not know why junk bonds are junky. The conversation dwells on important matters like boyfriends rather than on child abuse or the plutonium-poisoned water that is killing their community. Mr Wellman's view of contemporary society is dire but not doleful. In his headlong search for social and political commentary, he never neglects his comical instincts, starting with the fact that the play is dedicated to Jesse Helms ... The framework of the play is fantasy. A 'mystic furball' has infected Hillsbottom. What, you may ask, are furballs? They are foul-mouthed aliens that look like partly plucked chickens. The two who have landed (or have emerged from Hell) are played in full comic plumage ... Because of the play's graphic language and its approach to piety, some theatergoers may find SINCERITY FOREVER offensive, a fact that should please the playwright. Mr Wellman does not play anything safe as he does his danse macabre far out on the cutting edge." -Mel Gussow, The New York Times

A world list of books in the English language.

THE STORY: Set in 1991, during the Pan American Games in Havana and while the Russians are pulling out of Cuba, this play portrays two sisters, Maria Celia, a novelist, and Sofia, a pianist, serving time under house arrest. Passion infiltrates poli

Published in wake of sold-out Mexican season at Royal Court.

Since the 1960s, the occult in film and television has responded to and reflected society's crises surrounding gender and sexuality. In Desire After Dark, Andrew J. Owens explores media where figures such as vampires and witches make use of their supernatural knowledge in order to queer what otherwise appears to be a normative world. Beginning with the global sexual revolutions of the '60s and moving decade by decade through "Euro-sleaze" cinema and theatrical hardcore pornography, the HIV/AIDS crisis, the popularity of New Age religions and witchcraft, and finally the increasingly explicit sexualization of American cable television, Owens contends that occult media has risen to prominence during the past 60 years as a way of exposing and working through cultural crises about queerness. Through the use of historiography and textual analyses of media from Bewitched to The Hunger, Owens reveals that the various players in occult media have always been well aware that non-normative sexuality constitutes the heart of horror's enduring appeal. By investigating vampirism, witchcraft, and other manifestations of the supernatural in media, Desire After Dark confirms how the queer has been integral to the evolution of the horror genre and its persistent popularity as both a subcultural and mainstream media form.