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Georgina Escobar

Georgina Hernández Escobar is a Mexican playwright and maker of sci-femme narratives, ultra-humanistic mythos, frontera-funk stories, and Latinx futurity that run current systems of thinking through different filters of all-immersive visual, musical, narrative, and interpretative experiences. She works textually and visually with plasticity, mobility, harmony, and the Latin American perspective in drama. She is a MacDowell Fellow, a Djerassi Resident, Fornés Writing Workshop participant, and the recipient of the Kennedy Center Darrell Ayers Playwriting Award (2011) and the Outstanding Service to Women on the Border award (2004). Her work has been featured in the Kilroys List, The Texas Review, Los Bárbaros, McSweeney’s Anthology, and New Passport Press. Her plays have been produced across the USA and internationally in Mexico, Denmark, and Sweden. Artistic homes and presenters include INTAR, New York Children’s Theatre, Project Y, Clubbed Thumb, Lincoln Center, Bushwick Starr (NY), Two Rivers (NJ), Milagro (PDX), Aurora Theatre (GA), and the University of Texas at El Paso. She is currently an Assistant Professor of Practice at UTEP. georginaescobar.com

 

An Image of two hands with the shapes of continents them, drawing a galaxy, a sky, a door, and other objects.
Write to the Future→
Essay

Write to the Future→

26 April 2021

Georgina HL Escobar believes the impossible can be written into existence and shares that the power of imagination is the first step towards active realization.

a table with various objects
Meanwhile: Becoming Porous
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Meanwhile: Becoming Porous

Mientras Tanto: Hacia La Porosidad

21 November 2019

Robert Duffley, Una Chaudhuri, Georgina Escobar, Eli Nixon, Adilson Siqueira, and Brontë Velez reflect on the Hemispheric Institute for Performance and Politics convening that took place in Mexico City in June 2019.

a woman dancing in a crowd
Curating Courage and the Future of Latinx Theatre / Valentía Curatorial y el Futuro del Teatro Latinx
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Curating Courage and the Future of Latinx Theatre / Valentía Curatorial y el Futuro del Teatro Latinx

1 August 2018

Playwright Georgina Escobar reflects on the curation of the 2018 Latinx Theatre Commons (LTC) Carnaval of New Latinx Work: ¡ConeXión!, which took place 19-21 July 2018 in Chicago, Illinois. / Escritora Georgina Escobar refleja sobre la curación del 2018 Latinx Theatre Commons Carnaval de Obras Nuevas, cual fue el 19-21 de Julio del 2018 en Chicago, Illinois.

Reflections from the Latinx Theatre Commons María Irene Fornés Institute Symposium
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Reflections from the Latinx Theatre Commons María Irene Fornés Institute Symposium

30 April 2018

Trevor Boffone, Nelson Diaz-Marcano, Georgina Escobar, and Lauren Villegas reflect on the Latinx Theatre Commons María Irene Fornés Symposium on 14 April 2018 in Princeton, New Jersey.

The Composition of Latinx Aesthetics
Essay

The Composition of Latinx Aesthetics

23 August 2017

Georgina Escobar reflects on the past four years of Latinx Theatre Commons (LTC) convenings, and developing an understanding of “Latinx aesthetics.”

Photo from Ash Tree.
Cafecito
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Cafecito

Georgina Escobar

4 September 2015

Carla Della Gatta interviews Georgina Escobar about her writing process and upcoming projects following Carnaval.

Carnaval 2015
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Carnaval 2015

Day 1

24 July 2015

Georgina Escobar reflects on Day 1 of Carnaval 2015.

Cafecito
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Cafecito

Por Piedad Teatro

16 May 2015

Georgina Escobar chats with Ana Graham and Antonio Vega about their company Por Piedad Teatro and their upcoming production.

Cafecito
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Cafecito

Tricklock’s Revolution in the Southwest

13 January 2015

Georgina Escobar talks to Juli Hendren of Tricklock Company about Revolutions, an international festival held each year in Albuquerque, and the exciting symposium this year brings.

Café Onda 2014 End-of-Year Roundup
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Café Onda 2014 End-of-Year Roundup

29 December 2014

We hope 2015 activates us all and that we can continue to function as a digital-stage in which to strengthen our conversations, and augment our visibility. For now, we leave 2014 by offering you some of our favorite excerpts from Café Onda this year.

Cafecito
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Cafecito

The Roots and Work of Café Onda

7 November 2014

We want it to be for everybody. I think that we have to make it so that our readership sees us as a chapter in the narrative, not a separate narrative. That Café Onda acts as an archive, as a living conversation, and as a chapter in the story of the American theater. I hope that the present and future readership of Café Onda consists of those who are interested in that greater narrative.

Photo from Cascarones.
A Huge Epic in a Small Package
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A Huge Epic in a Small Package

11 September 2014

Georgina Escobar writes about traveling from New York to New Mexico to see Cascarones at Teatro Paraguas, and the affirmation this production brought after she waited to see it staged.

Cafe Onda logo.
Welcome to the New Café Onda!
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Welcome to the New Café Onda!

20 July 2014

We are committed to providing a safe, crowd-sourced space for online dialogue and discussions around the topic of Latina/o theater. As the definitions of Latinidad and Latina/o theater continue to shift and evolve, so will Café Onda / Nos dedicaremos a proveer un espacio positivo, creado de opiniones publicas donde las conversaciones acerca de los temas de el teatro Latino/a puedan florecer. Así como es cambiante e indefinida la identificación académica y artística de lo que es Latinidad y el teatro que lo representa, así también Café Onda será siempre cambiante y evolucionará en forma colectiva.

Portrait of Georgina Escobar.
Ni de aquí, ni de allá / From neither here nor there
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Ni de aquí, ni de allá / From neither here nor there

30 October 2013

Lo que cae mal, es la obsesión con la identidad. Presiento que debemos hablar honestamente sobre la paradoja de este tema. Por ejemplo, soy mujer gay Mexicana, si--pero significa esto entonces que solo eso define mi trabajo artístico? / What hits the wrong chord is the obsession with identity. I think we should engage in conversations regarding the paradox around this theme. For example, I am a gay Mexican woman, yes—but does that mean that it has to be what defines my writing?