Author: David Nicholas Wilson-BrownPublish On: 2009
Ultimately , I believe that the American theatre should be the forefront in
eradicating the stereotypical views of any ... The Genesis of Mis Fronteras Americanas When I first read Fronteras Americanas " , I instantly connected with
the piece .
Blaise's emphasis on Quebec questions any assumptions about the Canada-U.S.
border's internal homogeneity.10 Guillermo Verdecchia's play Fronteras Americanas/ American Borders, written and first produced in Toronto in 1993,
Author: Claudia Sadowski-Smith
Publisher: University of Virginia Press
Border Fictions offers the first comparative analysis of multiethnic and transnational cultural representations about the United States' borders with Mexico and Canada. Blending textual analysis with theories of globalization and empire, Claudia Sadowski-Smith forges a new model of inter-American studies. Border Fictions places into dialogue a variety of hemispheric perspectives from Chicana/o, Asian American, American Indian, Latin American, and Canadian studies. Each chapter examines fiction that ranges widely, from celebrated authors such as Carlos Fuentes, Leslie Marmon Silko, and Alberto Ríos to writers whose contributions to border literature have not yet been fully appreciated, including Karen Tei Yamashita, Thomas King, Janette Turner Hospital, and emerging Chicana/o writers of the U.S.-Mexico border. Proposing a diverse and geographically expansive view of border and inter-American studies, Border Fictions links the work of these and numerous other authors to civil rights movements, environmental justice activism, struggles for land and border-crossing rights, as well as to anti-imperialist forms of nationalism in the United States’ neighboring countries. The book forces us to take into account the ways in which shifts in the nature of global relations affect literary production, especially in its hemispheric manifestations.
I . Shattering the Canadian Multicultural Dream A . Guillermo Verdecchia ' s
Floating Identities In his 1993 groundbreaking play , Fronteras Americanas /
American Borders , Argentinian Canadian playwright Guillermo Verdeccchia has
Author: Marc Maufort
Publisher: Peter Lang
Category: Performing Arts
The fast-growing body of postcolonial drama is progressively gaining its just recognition in the twentieth-century canon of English-language plays. From the vantage point of various samplings along the Trans-Pacific axis linking English Canada, Australia and New Zealand, this monograph seeks to document the significance of this emerging postcolonial theater. More specifically, it examines the myriad ways in which, over the last two decades, representative mainstream, ethnic and First Nations playwrights have dramatized Europe's «Other» in its multiple guises. In their efforts to match new content with innovative form, these artists have followed transgressive itineraries, redrawing the boundaries of conventional Western stage realism. Their new aesthetics often relies on techniques akin to Homi Bhabha's notions of hybridity and mimicry. The present study offers detailed analyses of the modes of hybridization through which Judith Thompson, Louis Nowra, Tomson Highway, Jack Davis, Hone Kouka, and other prominent writers have articulated subtle forms of psychic, grotesque, and mythic magic realism. Their legacy will undoubtedly affect the postcolonial dramaturgies of the twenty-first century.
... mestizaje en las Américas, siglos XVI–XX (Quito and Lima: Abya-Yala, IFEA,
2002); Christophe Giudicelli, ed., Fronteras movedizas: clasificaciones y
dinámicas socioculturales en las fronteras americanas (Zamora: El Colegio de
Author: Danna A. Levin Rojo
This collaborative multi-authored volume integrates interdisciplinary approaches to ethnic, imperial, and national borderlands in the Iberian World (16th to early 19th centuries). It illustrates the historical processes that produced borderlands in the Americas and connected them to globalcircuits of exchange and migration in the early modern world. The book offers a balanced state-of-the-art educational tool representing innovative research for teaching and scholarship. Its geographical scope encompasses imperial borderlands in what today is northern Mexico and southern UnitedStates; the greater Caribbean basin, including cross-imperial borderlands among the island archipelagos and Central America; the greater Paraguayan river basin, including the Gran Chaco, lowland Brazil, Paraguay, and Bolivia; the Amazonian borderlands; the grasslands and steppes of southernArgentina and Chile; and Iberian trade and religious networks connecting the Americas to Africa and Asia.The volume is structured around the following broad themes: environmental change and humanly crafted landscapes; the role of indigenous allies in the Spanish and Portuguese military expeditions; negotiations of power across imperial lines and indigenous chiefdoms; the parallel development ofsubsistence and commercial economies across terrestrial and maritime trade routes; labor and the corridors of forced and free migration that led to changing social and ethnic identities; histories of science and cartography; Christian missions, music, and visual arts; gender and sexuality,emphasizing distinct roles and experiences documented for men and women in the borderlands. While centered in the colonial era, it is framed by pre-contact Mesoamerican borderlands and nineteenth-century national developments for those regions where the continuity of inter-ethnic relations andeconomic networks between the colonial and national periods is particularly salient, like the central Andes, lowland Bolivia, central Brazil, and the Mapuche/Pehuenche captaincies in South America. All the contributors are highly recognized scholars, representing different disciplines and academictraditions in North America, Latin America and Europe.
Gilbert , Helen and Joanne Tompkins . PostColonial Drama : Theory , Practice ,
Politics . London : Routledge , 1996 . 285 – 88 . Gomez , Mayte . " Healing the
Border Wound : Fronteras Americanas and the Future of Canadian
Author: Jerry Wasserman
Publisher: Burnaby, B.C. : Talonbooks
In Volume II, Wasserman shows us Canadian drama from 1985 up to 1997, during which we see women playwrights rise to greater prominence, along with Native, gay and lesbian, and Quebecois playwrights. But, continuing on from Volume I, this selection of plays not only takes us farther into the annals of the lives of the marginalized; it also provides a revealing cultural and philosophical cross-section of late-20th-century life in Canada. In one way or another, we are shown ourselves as we are, and not in the critically-neutral, determinedly naive terms of the contemporary mainstream in which we are all represented as gloriously enmeshed in a world of cybernetic stringency--the uncomplicated aesthetic of a never-ending stream of zeroes and ones. If the plays presented in these two volumes are the contours of an "indigenous Canadian drama," they outline anything but a norm. The plays in this fourth edition of Modern Canadian Plays: Volume IIdate from 1985 to 1997: Bordertown Cafeby Kelly Rebar Polygraphby Robert Lepage and Marie Brassard Mooby Sally Clark The Orphan Musesby Michel Marc Bouchard 7 Storiesby Morris Panych Dry Lips Oughta Move to Kapuskasingby Tomson Highway Amigo's Blue Guitarby Joan MacLeod Lion in the Streetsby Judith Thomson Never Swim Aloneby Daniel MacIvor Fronteras Americanasby Guillermo Verdecchia Harlem Duetby Djanet Sears Problem Childby George F. Walker
Like Fronteras Americanas , these plays use a type of confessional narrative to
trace their respective authors ' efforts to find a place within Canadian society . The
chosen theatrical form stamps each narrative with a certain authority by using ...
Author: Helen Gilbert
Publisher: Psychology Press
This book brings together contemporary plays from Ireland, Canada, Australia, New Zealand, Africa and South Africa, the Caribbean, South East Asia and India - countries which have all experienced Imperialism.
Fronteras Americanas ( one - man show ) , Festival des Ameriques , Montreal ,
1993 . ( With M . Youssef ) A Line in the Sand ... Fronteras Americanas / American
Borders ( based on his play ) , Coach House Press , 1993 . Crucero / Crossroads
CHAPTER TWELVE Fronteras Americanas and the Latino Canadian Diaspora:
Guillermo Verdecchia's Border Texts Astrid M. Fellner In Fronteras Americanas/
American Borders (1993), a play by Canadian Latino writer Guillermo Verdecchia
Author: Silvia Schultermandl
Publisher: LIT Verlag Münster
Category: Social Science
In this era of increasing global mobility, identities are too complex to be captured by concepts that rely on national borders for reference. Such identities are not unified or stable, but are fluid entities which constantly push at the boundaries of the nation-state, thereby re-defining themselves and the nation-state simultaneously. Contemporary literature pays specific attention to internal and external notions of belonging ("Politics of Motion") and definitions of self resulting from interpersonal relationships ("Politics of Longing"). This collection looks at texts by authors who are British, American, or Canadian, but for whom a self-definition according national parameters is insufficient.
Author: Caroline F. LevanderPublish On: 2007-10-04
With Fronteras Americanas Verdecchia confronts these issues more directly as
they surface beyond the U.S.-Mexico border, while also exploring the potential of
theater to serve as its own kind of borderland, where Canada and the Americas ...
Author: Caroline F. Levander
Publisher: Rutgers University Press
Category: Literary Criticism
This landmark collection brings together a range of exciting new comparative work in the burgeoning field of hemispheric studies. Scholars working in the fields of Latin American studies, Asian American studies, American studies, American literature, African Diaspora studies, and comparative literature address the urgent question of how scholars might reframe disciplinary boundaries within the broad area of what is generally called American studies. The essays take as their starting points such questions as: What happens to American literary, political, historical, and cultural studies if we recognize the interdependency of nation-state developments throughout all the Americas? What happens if we recognize the nation as historically evolving and contingent rather than already formed? Finally, what happens if the "fixed" borders of a nation are recognized not only as historically produced political constructs but also as component parts of a deeper, more multilayered series of national and indigenous histories? With essays that examine stamps, cartoons, novels, film, art, music, travel documents, and governmental publications, Hemispheric American Studies seeks to excavate the complex cultural history of texts and discourses across the ever-changing and stratified geopolitical and cultural fields that collectively comprise the American hemisphere. This collection promises to chart new directions in American literary and cultural studies.
Healing the Border Wound : Fronteras Americanas and the Future of Canadian
Multiculturalism by Mayte Gómez " Here we are . All together . At long last . " With
these words , Guillermo Verdecchia , author and performer of Fronteras ...
Author: Michael McKinnie
Publisher: Critical Perspectives on Canad
Includes:The Regionalism of Canadian Drama by Diane Bessai (1980) Playwrights in a Landscape: The Changing Image of Rural Ontario by Alexander M. Leggatt (1980)"A Country of the Soul": Herman Voaden, Lowrie Warrener and the Writing of Symphony by Anton Wagner (1983)Between Empires: Post-Imperialism and Canadian Theatre by Alan Filewod (1992)Reading Material: Transfers, Remounts, and the Production of Meaning in Contemporary Toronto Drama and Theatre by Ric Knowles (1993-94)Healing the Border Wound: Fronteras Americanas and the Future of Canadian Multiculturalism by Mayte Gómez (1995)Theorizing a Queer Theatre: Buddies in Bad Times by Robert Wallace (1995)Degrees of North: An Introduction (to Staging the North: Twelve Canadian Plays) by Sherrill Grace (1999)Urban National, Suburban Transnational: Civic Theatres and the Urban Development of Toronto's Downtowns by Michael McKinnie (2001)"No, the Centre Should be Invisible": Radical Revisioning of Chekhov in Floyd Favel Starr's House of Sonya by Rob Appleford (2002)Theatre as National Export: On Being and Passing in the United States by Erin Hurley (2003)In the MT Space by Guillermo Verdecchia (2006)T.O. Live with Culture: Torontopia and the Urban Creativity Script by Laura Levin (2007)Critical Perspectives on Canadian Theatre in English sets out to make the best critical and scholarly work in the field readily available. The series publishes the work of scholars and critics who have traced the coming-into-prominence of a vibrant theatrical community in English Canada.
Fronteras Americanas also springs to mind . ... Not long ago , many Europeans —
Germans in particular , most of whom had never met or seen a North American
aboriginal , all too often turned to stereotypes and cliché - ridden statements ...
7 Border crossing : the technologies of identity in Fronteras Americanas Ann
Wilson ' I ' 9 m lost , ' confesses Verdecchia , the character in Fronteras Americanas ( American Borders ) who is named for the play's author , ' I'm lost ...
and I ...
Fronteras Americanas - The best play of the season , this one - man show literally
travels across borders . Guillermo Verdecchia ' s Fronteras Americanas (
American Borders ) explores a search for self and “ home ” on the part of an ...
The Hemispheric Origins of Mexican American Literature Marissa K. López.
Introduction: Nuevas Fronteras / New Frontiers Technically, I don't qualify as a
Chicano. I wasn't born in EastL.A. I wasn't born in de southwest U.S.A. I wasn't
Author: Marissa K. López
Publisher: NYU Press
Category: Literary Criticism
Chicano Nations argues that the trans-nationalism that is central to Chicano identity originated in the global, postcolonial moment at- the turn of the nineteenth century rather than as an effect of contemporary economic conditions, which began in the mid nineteenth century and primarily affected the labouring classes. The Spanish empire then began to implode, and colonists in the new world debated the national contours of the viceroyalties. This is where Marissa K. Lopez locates the origins of Chicano literature, which is now and always has been post-national, encompassing the wealthy, the poor, the white, and the mestizo. Tracing the long history of Chicano literature and the diversity of subject positions it encompasses, Chicano Nations explores the shifting literary forms authors have used to write the nation from the nineteenth to the twenty-first centuries. Lopez argues that while national and global tensions lie at the historical heart of Chicana/o narratives of the nation, there should be alternative ways to imagine the significance of Chicano literature other than as a reflection of national identity.In a nuanced analysis, the book provides a way to think of early writers as a meaningful part of Chicano literary history, and, in looking at the nation, rather than the particularities of identity, as that which connects Chicano literature over time, it engages the emerging hemispheric scholarship on U.S. literature.
Background and Commentary Guillermo Verdecchia , the author of Fronteras Americanas , is an actor and dramatist . ... For Fronteras Americanas ( American
Borders ) he was awarded the Governor General ' s Literary Award for Drama in ...
Author: Albert-Reiner Glaap
Voices from Canada introduces the reader to thirty Canadian plays in the form of overviews.
The Canadian performance artist Guillermo Verdecchia's solo show Fronteras Americanas challenges criticism and the solo performance genre itself with a self
- implicating pedagogical apparatus that re - invents " the lecture machine .
—Guillermo Verdecchia, Fronteras Americanas/American Borders (20) “To break
” has surely been turned into a verb without yesteryear's magic. Deferred to the
past and to the future, it is also deprived ofthe present. —Martín Hopenhayn, No ...
Author: Michael Dowdy
Publisher: University of Arizona Press
Category: Literary Criticism
Broken Souths offers the first in-depth study of the diverse field of contemporary Latina/o poetry. Its innovative angle of approach puts Latina/o and Latin American poets into sustained conversation in original and rewarding ways. In addition, author Michael Dowdy presents ecocritical readings that foreground the environmental dimensions of current Latina/o poetics. Dowdy argues that a transnational Latina/o imaginary has emerged in response to neoliberalism—the free-market philosophy that underpins what many in the northern hemisphere refer to as “globalization.” His work examines how poets represent the places that have been “broken” by globalization’s political, economic, and environmental upheavals. Broken Souths locates the roots of the new imaginary in 1968, when the Mexican student movement crested and the Chicano and Nuyorican movements emerged in the United States. It theorizes that Latina/o poetics negotiates tensions between the late 1960s’ oppositional, collective identities and the present day’s radical individualisms and discourses of assimilation, including the “post-colonial,” “post-national,” and “post-revolutionary.” Dowdy is particularly interested in how Latina/o poetics reframes debates in cultural studies and critical geography on the relation between place, space, and nature. Broken Souths features discussions of Latina/o writers such as Victor Hernández Cruz, Martín Espada, Juan Felipe Herrera, Guillermo Verdecchia, Marcos McPeek Villatoro, Maurice Kilwein Guevara, Judith Ortiz Cofer, Jack Agüeros, Marjorie Agosín, Valerie Martínez, and Ariel Dorfman, alongside discussions of influential Latin American writers, including Roberto Bolaño, Ernesto Cardenal, David Huerta, José Emilio Pacheco, and Raúl Zurita.
Guillermo Verdecchia ( Argentina ) : FRONTERAS AMERICANAS . The Theatre
franco - roumain ( Romania ) : PERFORMANCE based on the works of Marx ,
Flaubert , and Sartre ; dir : Sophie Loucachevsky . DOCTOR FAUSTUS LIGHTS