Titlebook: Imagining Human Rights in Twenty-First Century Theater; Global Perspectives Florian N. Becker,Paola S. Hernández,Brenda Werth Book 2013 Pal

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Introductionth pervasive and truly global. The chapters collected here examine a rich repertoire of plays and performance practices from or about countries across six continents, including Afghanistan, Argentina, Australia, the Democratic Republic of Congo, the Dominican Republic,Mozambique,Mexico, Peru, the Ph

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The ESMA: From Torture Chambers into New Sites of Memoryiolent acts, tortures, and denial of basic human rights, during the latter half of the twentieth century.2 Within traumatic memory studies, historical narratives are part of the search for answers to these actions in the past perceived from the present. The expression of these narrative memories tak

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Surpassing Metaphors of Violence in Postdictatorial Southern Cone Theaterwhich to approach and reflect upon the local violence unleashed by the dictatorships of the seventies and eighties. This chapter is concerned with the metaphor of violence in two recent plays: . (Sarajevo, at the Corner of Montevideo, 2003) by Uruguayan playwright Gabriel Peveroni, and . (Persistenc

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Place and Misplaced Rights in ,rds, part of a speech Britain’s Lord Justice Johan Steyn delivered in 2003 exhorting the British judiciary to condemn publicly the detention center at Guantánamo, indicate that the suspension of . constitutes one of the fundamental problems with the facility and the policies the United States uses t

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Stages of Transit: Rascón Banda’s , and Peveroni’s ,to. La frontera es conflicto en acción.”([t]heater is action and conflict. The border is conflict in action). I use Rascón Banda’s quote as a springboard for my query as to how to conceive the experience of characters that constantly traverse borders not only in a neoliberal but also in a postlibera