Content in this section is created by or highlights the work of Latinx theatremakers from around the world. Start with the Journal series Taking the Temperature about issues facing Latinx theatre artists in the United States, or with the video series Latinx Superfriends Playwriting Hour. Looking for more? Check out the Latinx Theatre Commons (LTC), a national movement to transform the narrative of the American theatre. Formerly a flagship program of HowlRound, the LTC now operates independently.
The Latest
Video
Symposium and Book Launch for Latin American Plays in Translation
Six New Plays Translated for an English-Language Audience
Friday 27 March 2026
Essay
Decolonial Collaboration Through Voice Work
by Sayda Trujillo, Madeline Sayet
3 December 2025
Video
A Staged Reading of The Precursors (Los precursores)
Directed by Dawn McMillan and Produced By Bryan Rafael Falcón
How can voice work enable actors to access their widest range of expression? What happens when vocal training is not about “fixing,” but play and connection? Madeline Sayet sits down with voice practitioner Sayda Trujillo to explore these questions in a conversation about liberatory vocal practice.
Directed by Dawn McMillan and Produced By Bryan Rafael Falcón
Friday 7 November 2025
Tucson, Arizona
The end of the world has arrived, and three people are the sole survivors. At their lonely and remote campsite they have been given one task to tell until the end of time—tell all the stories, tell everything—until there are no more stories to be told.
Alexandra Meda, founder of Culture Change Lab, discusses mediation and facilitation at various predominantly white organizations, and championing change work on the professional and individual levels. As an artist, she finds creativity in offering tools instead of ready-made solutions.
Nadia Garzón, founder and executive director of Descolonizarte Teatro in Orlando, Florida, prioritizes a decolonial arts practice by uplifting Latinx, queer, and immigrant voices. Nadia releases the Western-centric ideals that dominate the theatre and uses an ensemble leadership style with empathy at the core of her work.
R. Réal Vargas Alanis, founder of In The Margin (ITM), discusses how they dreamed up ITM and the mentorship programs and residencies they offer as a multidisciplinary nonprofit, how they transition between structures, and how they pivot with the seasons of life.
The founder of About…Productions, Theresa Chavez, highlights the role of the arts in enlightening and moving people and centers equity in her theatre work and youth education. She speaks about creating art with an emotional and historical component and having optimism at the core of artmaking.
Ada Mukhina sits down with global artists and theatremakers—Kiyo Gutiérrez from Mexico, Teddy Mangawa from Zimbabwe, Dijana Milošević from Serbia, and Trà Nguyễn from Vietnam—to discuss their strategies for incorporating both care and risk in performance.
Co-founders Gabi Sanchez and Erlina Ortiz share their journeys of co-founding Power Street Theatre; being lifelong business partners; and creating a multicultural, community-centered theatre company in Philadelphia.
HERO Theatre founder Elisa Bocanegra reflects on mentor-mentee relationships, becoming an ancestor, and healing through the arts. Rooted between the Los Angeles Latine community and Bogotá, Colombia, Elisa’s theatre work is full of hope and trust in the disorder.
For almost forty years, Real Women Have Curves has pulled audiences in with its story of Latine women in a sewing factory taking charge of their own destinies. Carlos Morton traces the story’s path from play to film to Broadway musical, affirming the power at its core.
To understand the impact of the 2025 Fornés Institute Symposium, one must look to both the events on the schedule and the space in-between and on the side—the conversations, reunions, sparks of mentorship. Carla Della Gatta details these various interwoven sites of connection and collaboration.
Parrots at the Pagoda imagines an afterworld where parrots guide Puerto Rican drag performer Johnny Rodriguez through memories of his life. In this journey, Citlali Pizarro writes, the transformation of death and life into memory illuminates a queer Latinx theatricality that celebrates itself against erasure.
In March 2025, the Latinx Theatre Commons convened a daylong symposium to honor and explore the work of María Irene Fornés. Anna Dolores Novak shares how the day brought together long-time Fornés scholars and newcomers who joined together to cultivate her legacy via infinite transformation of her work.
In March 2025, the Latinx Theatre Commons convened a daylong symposium to honor and explore the work of María Irene Fornés. Benjamin Gillespie reflects on the day, which served as a reaffirmation of the community that continues to grow around Fornés’s influence, even after her passing.
In leadership transition, structure follows values. Consultant and artistic leader Alex Meda makes the case for values-based cultural transformation as a crucial component of establishing shared leadership in theatre organizations.
Shared leadership is not revolutionary, and it is more than a trend. In this essay, Devon Berkshire and Miranda Gonzalez kick off their series The Evolution of Shared Leadership by exploring the generations of shared leadership practice—especially in theatres of color—and the contemporary push toward more collective leadership.
Plant Man is a performative forest: a full-body suit filled with living plants, created and inhabited by Marco Guagnelli. He writes about the ways this performance-based artistic research project explores embodied relationships with nature through plant-filled garments and performative actions.
Designed to Activate the Next Wave of Critical, Creative, and Collaborative Explorations of the Fornésian Tradition
Saturday 22 March 2025
Princeton, New Jersey
The 2025 Symposium offered a series of plenary readings from Fornés in Context in tandem with a constellation of hosted breakout conversations engaging questions of context, legacy, and engagement around Fornés’s work.
In ProyectoTEATRO’s Cabarex 2: RevoLUZiones, history is funnier, sexier, and messier than a textbook ever could be. Khristián Méndez Aguirre writes about the production’s queer, devised cabaret take on Latinx culture and history.
Alexandria Ramos shares about her experience of Rasgos Asiaticos, a site-specific performance installation. The performance installation shines a light on entangled histories of migration, colonialism, and displacement, and it highlights the forging of a Chinese Mexican identity in the United States-Mexico borderlands.
How do you insist on hope in the face of crisis? Can Miami restructure itself to avoid climate peril? And what might anti-Zionist Jewish theatre look like? Playwright Talia Rodriguez considers these questions and more in this essay on her play Pitbull’s Party at the End.
Wrestling With Theatrical Forms, Themes, and Conventions
Thursday 31 October through Saturday 2 November 2024
Los Angeles, California
The LTC will be partnering with the Latino Theatre Company to bring the current LTC Steering and Advisory Committee, our partners, and community members together to dialogue with artists brought in from across the country.
Translation lives in the slippery area between texts, people, cultures, languages, and sources. In this conversation, Jean Graham-Jones and Caridad Svich engage with expansive understandings of translation and adaptation and apply those ideas to their own myriad translation projects.
Through a Wallace Foundation grant, scholars from the Latinx Theatre Commons co-authored a concept paper comprised of histories, strategies, and suggestions for archiving Latine theatre in all its forms and technologies. Carla Della Gatta introduces the paper with an executive summary and highlights from the report.
