By Enriqué Zumel
Translated by Christopher Kidder-Mostrom
Through that terrible crone’s interfering,
I move on from this place empty-handed.
From your hands we’d like to be hearing
Applause as the room you are clearing,
If pleased you “A Fiery Young Man” did.
By Federico García Lorca
Translated by Luigi Salerni
I don’t think it will occur to the other woman or the lady Secretary to come around here again when five years pass, but if they should come…
By Jorgelina Cerritos
Translated by Margaret Stanton and Anna Donko
Cerritos’ concern with the theme of identity, not as an ethnic construct, but rather as an existential angst, is expressed through techniques of the Theatre of the Absurd such as the lonely desk on an isolated beach, Dorotea’s insistence that her lone client gets in line and the obsession with documents as proof of existence, documents that cannot be obtained without, ironically, other documents.
By Críspulo Torres
Translated by John Thomas Howard
For them, for all Colombians who have lived through the conflict, there is no silence whatsoever; there is only the endless report of bullets, the continued sound of explosions going off in the distance, and the sirens and the screams that accompany these things.
By Sophie Louise Stevens
This article focuses on the process of translating Bailando sola cada noche written by Uruguayan dramatist Raquel Diana in 2008.
By Oliver Mayer
Adaptation of Federico García Lorcas Bodas de sangre
The Groom is unknowingly doing the dirty work yet again for the conglomerate, thinking that he is satisfying his blood lust and honor when he is actually doing business for the cartel.
By Alejandro Ricaño
Translated by Daniel Jáquez
Ricaño belongs to the generation of writers – not only in Mexico but in all of Latin America – considered to be the cohort that brought the word back to the center of the drama on the stage. These are theatre makers who write, direct and act in their own creations.