Documents of Latin American and Latino Art

This essay about the interview by Pablo Mañé Garzón with Ángel Kalenberg, the director of the IGE (Instituto General Electric de Montevideo [General Electric Institute of Montevideo), discussing the programs carried out by the institution that [...]

This text was written by the Brazilian artist Abelardo da Hora for the exhibition called Civilização do Nordeste, organized by the Italian architect Lina Bo Bardi at the Museu do Unhão, in Salvador, the capital of Bahia, in 1963. Abelardo da Hora [...]

Writer Eduardo Campos defends future theatrical works with a “regionalist” theme. He suggests the use of themes linked to the Northeastern region of the country, where man’s struggle for survival (in a hostile and desert-like environment) is [...]

In 1979 the writer and actor Luiz Sérgio Raghy agreed to be interviewed by the alternative newspaper Oras, Pombas! about the Brazilian group Viajou Sem Passaporte. Raghy talks about the origins of the group and its earliest theatrical productions, [...]

This newspaper article reports on the raid carried out at the Teatro Ruth Escobar, in São Paulo, on June 8, 1968, when federal police violently shut down the Iª Feira Paulista de Opinião, an event produced by the Teatro de Arena group and directed [...]

The theatre group Oficina’s use in 1967 of Oswald de Andrade’s 1933 novel O rei da vela [The Candle King] to re-inaugurate their stage expressed the desire of the company, which was led by José Celso Martinez Corrêa, to offer a new dramatic [...]

The script of the sketch “El Salón dentro del Salón” [The Salon Within the Salon] was written during May and June 1977 by the Colombian journalist Aníbal Tobón, who was a member of the Grupo de Arte Experimental El Sindicato. In his sketch, [...]

Theater director Juan Monsalve wrote the monologue Ondina (1983) specifically for María Teresa Hincapié, who was an actor at the time. This text, which is influenced by the Japanese theater of fragmentation that emerged after World War II, is a [...]

In this text, art historian and activist Victor Alejandro Sorell ponders on arguments for designating Chicano people a nation: the history of the twelfth-century Aztec homeland Aztlán, —located in the U.S. Southwest,— included; the seizure of [...]

In this project, the Estridentista Luis Quintanilla aimed for the renovation of a variety of languages by combining theater, music and the visual arts in the Russian avant-garde style, always along the lines of the great popular traditions. The set [...]

This newspaper article about the CAM (Club of Modern Artists) describes the activities of the Teatro da Experiência, the theater company founded by Flávio de Carvalho in 1933. The author explains that the group objectives are “to create [...]

In 1933, the artist Flávio de Carvalho discussed the founding of the Teatro da Experiência at the premises of the CAM [Modern Artists Club] in São Paulo. Speaking from his broader experience as an architect and set designer, he sees the theater as [...]

Sent from Morocco, this is a collaboration of poet and painter Diyi Laañ in which she proposes the consideration of the stage as a dramatic construction, that is, as the creation of a dramatic architecture instead of a mere literary drama. The [...]

Leopoldo Maler writes in detail about the first performance of the London stage production of Listen Here Now. A New Concert for Four Voices and a Soft Drum. He discusses the difficulties concerning the various BBC announcers involved in the [...]

Leopoldo Maler writes about the London stage production of León Ferrari’s book Palabras ajenas [Other People’s Words]. Maler mentions the direction by Jim Haynes, and quotes Haynes on his opinions about the book and its perspective on the news [...]

Julio Cortázar wrote to León Ferrari about his partial reading, only thirty pages of Palabras ajenas [Other People’s Words] which he defined in generic terms as a “tremendo oratorio” [tremendous oratory], despite it sounding ironic. Cortázar [...]

Leopoldo Maler writes to Ferrari. He is excited about the book, Palabras ajenas [Other People’s Words], and proposes a stage version to be produced in London, where he lives. Maler mentions certain people who might be interested, suggesting that [...]

León Ferrari writes to Leopoldo Maler about sending a copy of his book, Palabras ajenas [Other People’s Words] and about a possible stage version to be produced in England. He refers to the increasing politicization of Argentine artists, and [...]

León Ferrari writes to Leopoldo Maler about the London stage production of his book, Palabras ajenas [Other People’s Words].  He agrees to the new title of the English version, Listen Here Now, while proposing that it include the word “Vietnam [...]

León Ferrari writes to Leopoldo Maler about Palabras ajenas [Other People’s Words], telling him where he has sent the book and mentioning that Inda Ledesma might produce a stage version in Buenos Aires. Ferrari comments on the repression of [...]

Leopoldo Maler wrote to León Ferrari to acknowledge receipt of the work Palabras ajenas [Other People’s Words] (Buenos Aires: Falbo Editor, 1967) written by the latter. Maler, employed by the BBC in London, mentioned, in a general way, films on [...]

León Ferrari writes to Leopoldo Maler about Palabras ajenas [Other People’s Words], to discuss the staging of the London production and to critique European culture. He talks about the presentation of Tucumán Arde at the Rosario and Buenos Aires [...]

León Ferrari writes to Leopoldo Maler about the London stage production of Palabras ajenas [Other People’s Words]. He discusses the polyphonic work involving the various texts in the book, and talks about the economic situation and the student [...]

León Ferrari writes to Leopoldo Maler about the London stage production of Palabras ajenas [Other People’s Words]. He discusses the polyphonic work involving the various texts in the book, and talks about the staging, the visual elements, the [...]

León Ferrari writes to Leopoldo Maler about the London stage production of Palabras ajenas [Other People’s Words]. He discusses the polyphonic work involving the various texts in the book, mentions sending original English copies, and refers to [...]

León Ferrari writes to Leopoldo Maler about the London stage production of Palabras ajenas [Other People’s Words]. He refers to the polyphonic work involving the various texts in the book, and mentions that he has sent a copy to Mario Vargas Llosa [...]

León Ferrari writes to Leopoldo Maler about the London stage production of his book, Palabras ajenas [Other People’s Words]. He asks about the translation, the staging, and the rights, and mentions personal and institutional contacts that would be [...]

Leopoldo Maler writes about the translation of Palabras ajenas [Other People’s Words]. Maler talks about what he is working on, and reports on the writer Tomás Eloy Martínez’s opinion on the situation in Argentina. He also mentions the student [...]

Leopoldo Maler, the artist, writes about the London stage production of Palabras ajenas [Other People’s Words], which will use BBC radio announcers; Maler was working at the BBC at the time, and mentions that the stage version will be presented at [...]

Roberto Jacoby, the artist and art critic, discusses the stage version of León Ferrari’s Palabras Ajenas [Other People’s Words] in his review of a performance, and mentions the role of the audience. Jacoby discusses the declining aesthetic [...]

An account of Ferrari’'s (1920–2013) visit to the publisher’s office with his Palabras ajenas [Other People’s Words].Ferrari adamantly maintains that a work of art should be a rifle aimed at its audience. There are references to Civilizació [...]

This is a brief overview of how the Russian modality of synthetic theatre was transplanted to the Mexican scene after passing through New York, thus becoming a fusion of colorful traditions with the avant-garde spirit. Magaña Esquivel underlines the [...]