In the first of a seven-part series of posts about Latina/o theatre in Texas, Trevor Boffone summarizes the current conversation, and outlines the questions the series will address.
Enrique's Journey, directed and adapted by Anthony J. Garcia, is based on Pulitzer Prize-winning book of the same name by Sonia Nazario. The third production of Enrique’s Journey took place at the LATC's Encuentro 2014, performed by Su Teatro.
Teatro del Sol's Mariela en el desierto is a fantastic philosophical meditation on art and women artists obscured by the ambition of their partners, inhibited creativity, truth, beauty, and the sacrifices we make for our loved ones.
About Productions has been staging plays since 1988 about historical characters like Joan of Arc and Antonin Artaud. Properties of Silence turned into an exciting flight into the depths of Sor Juana’s legacy.
Carol Kearns writes about Zoetrope: Part 1, a drama set in 1951 Puerto Rico, looking at its multimedia aesthetic, bilingual presentation, and political themes.
As a Black woman, millennial, playwright, and producer who is not Latina, I felt acutely aware of the gestures of absolute inclusivity, both small and large, that comprised my Encuentro experience.
This long standing collaboration can be felt through and through the ensemble work on display. Premeditation is tantalizing with promise—a talented cast and inventive staging in a noir 1940’s-esque comedy about marriage, infidelity, and murder.
I call the process of creating and performing trauma “spiritual work,” because it feels that way. Embodying trauma is a cathartic experience that transforms specific memory that lives in my body, into story-physical manifestation.
Aliens, Immigrants & Other Evildoers Invades Encuentro Festival
10 November 2014
In the Latin American tradition, the poet, performer, and artist bears a social responsibility, an almost mythic duty, to document and articulate the people’s struggle—la lucha de la gente—when they are denied effective means to have their voices heard in their fight against oppression and their many oppressors. I am an interdisciplinary artist, and I explore the underbelly of the “American Dream” mythology and the Latino immigrant experience through writings, performance, and visual art practices.
Jose Luis Valenzuela had a vision of a festival that included artists from all over the country. Through seeing his vision realized in the form of this festival, I too am realizing my own vision: To see and support the work of artists that I would not have access to otherwise.
This manifesto was delivered by José Luis Valenzuela as part of the opening session of the Latina/o Theatre Commons National Convening held at the Los Angeles Theatre Center’s Encuentro 2014 on Thursday, November 6, 2014.
Professor Jorge Huerta gives a short overview about the precedents that led to the historic and revolutionizing event, focusing on the growth of Chicano/a theatre festivals since 1970.
Encuentro 2014 at the The Los Angeles Theatre Center
#CafeOnda
Saturday 18 October through Monday 10 November 2014
Los Angeles, CA, United States
The Los Angeles Theatre Center in association with the Latinx Theatre Commons (LTC) proudly presented Encuentro 2014: A National Latina/o Theatre Festival livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv from Saturday 18 October through Monday 10 November 2014.
Participate in The Latinx Theatre Commons Second National Convening Nov. 6-9 at the Los Angeles Theatre Center's Encuentro 2014
17 October 2014
The 2014 Latinx Theatre Commons Second National Convening at Los Angeles Theatre Center's Encuentro 2014 runs November 6-9, 2014 and is open to all theatermakers, artists, scholars, administrators, and advocates with an interest in Latina/o theater (or the New American Theater). If you plan to come to any Convening events, please RSVP here no later than November 1, 2014.
To understand the deep impact Latina/o artists have had in our collective history, it is crucial to discuss the varied artistic expressions that exist within the polycultural Latina/o theater landscape. The Encuentro seeks to understand how and why we arrive to each form—be it community-based, avant-garde, ensemble-based, playwright-driven, devised, or experimental work. // Para poder entender el impacto que han tenido varios artistas Latinos/as en nuestra historia colectiva, es necesario discutir las varias formas de expresión artística existentes en nuestro territorio multi-cultural mediante el teatro Latino. Este Encuentro busca entender el como y el porque de cada proyecto escénico—sea teatro de la comunidad, avant-garde, colectivo, basado en material original y en el dramaturgo, teatro ideado, o experimental.
The Los Angeles Theatre Center (LATC), in association with the Latinx Theatre Commons (LTC), is proud to announce the 2014 LATC Encuentro: A National Latina/o Theatre Festival. This groundbreaking festival will be the largest national Latina/o theater festival in over twenty-five years, bringing together 100 artists from across the country to explore the aesthetic, thematic, and cultural diversity in the field.
In 2004 and 2005, two seminal Latino/a theatre incubators closed down. Since then, we’ve started to say our dreams aloud of find a new supports and a new hub.
Towards a National Latina/o Festival, Planning an Encuentro in Los Angeles
31 October 2013
The multi-layered commitment is in hopes of finding out what is unique to the needs of U.S Latina/o theatre and how it reflects the changing landscape of American theatre.