While hemispheric approaches in Latina/o scholarship have centred geographically on the Americas, Canada has had limited inclusion in this body of scholarship. These essays seek to include Canada in this field of inquiry and assess the ongoing formation of Latina/o subjectivity in Canadian theatre and performance within ever-shifting hemispheric relations. Contributions include: Alicia Arrizón’s "Martha Chaves’ Narrative of Survival: Stand-Up Comedy, Feminism and Migration;" Saul Garcia Lopez’s "The Latina/o Repertoire on Canadian Stages;" Hugh Hazelton’s "The Bilingual Performance Theatre of Alberto Kurapel;" Martha Nandorfy’s "From Abyssal Thinking to Loving Imagination in The Terrible But Incomplete Journals of John D by Guillermo Verdecchia;" Coya Paz’s "On Alameda Theatre and the Myth of Joaquin Murieta as a Cipher of Race Relations;" Jeannine M. Pitas’s "On the Interventions of Latino Community Theatre;" Pablo Ramirez’s "Restaging, Reframing, Remembering: The Role of Collective Memory in Guillermo Verdecchia’s Fronteras Americanas; Ramón Rivera-Servera’s "Moving from Realism to Hip-Hop Real: Transnational Aesthetics in Canadian Latina/o Performance;" Tamara Underiner’s "On the Interventions of Puente’s Activist Theatre;" Guillermo Verdecchia’s "Revolutionary Politics in the Work of Carmen Aguirre;" and Ric Knowles and Jessica Riley’s "Aluna Theatre’s Nohayquiensepa: The Intermedial Intercultural and the Limits of Empathy."
Natalie Alvarez is an associate professor at Brock University’s Department of Dramatic Arts where she teaches in the Theatre Praxis concentration. Her work on contemporary performance, performance theory, and Latina/o theatre has appeared in a number of periodicals such as Theatre Journal, Journal of Dramatic Theory and Criticism, and Janus Head, as well as in national and international essay collections. Her current SSHRC-funded book project, Enactments of Difference, examines simulations, interculturalism, and performance in military training and dark tourism. She also serves as co-editor of the Canadian Theatre Review’s Views and Reviews.