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.
Written, translated and adapted by Jason Yancey
In true Cervantine fashion of overlapping and blurred frames, this warning to maintain a safe distance from the theatre appears to have spilled off the page and into real life.
By Antonio Muñoz de Mesa
Translated by Phyllis Zatlin
Can we go over the policy?
By Abel González Melo
Translated by Yael Prizant
There’s no talc, but there’s chalk.
By Oscar Sanz Cabrera
Translated by Matthew Ward
The play is translated into what I would call a ‘rough and tough’ London English, which I felt was the closest equivalent to the colourful language and ribald humour of the Barcelona residents that make up the cast of Oscar’s characters.
By Emilio Carballido
Translated by Jacqueline E. Bixler
The two of us alone here in the house. Looking at this old photo, counting the dead. Just Grandmother and I. The photo has begun to fade.
