This is Carlos MortonÍs first collection of plays, the fruit of a ten-year journey that took him from the turmoil of agit-prop theatre to a fellowship with the National Repertory Theatre and advanced academic degrees in drama. The works included here have been produced before audiences, which have varied from San Diego Park pedestrians to Harvard University faculty and students. In his lighter works, Morton has proven himself to be the master of the incongruous, the prince of satire and the poet laureate of the unexpected and comic in daily speech. His serious plays, like The Many Deaths of Danny Rosales, confront audiences with gripping appeals for justice. Whether as a humorist or a tragedian, one note characterizes MortonÍs works: unfettered, expansive imagination.

An accessible introduction for students and theatregoers of Chicano theatre, first published in 2000.

A collection of the most recent and celebrated plays by the prolific Chicano playwright, including the following: Johnny Tenorio (1983), The Savior (1986), The Miser of Mexico (1989) and Pancho Diablo (1987). Morton is the winner of the National Latino Playwriting Contest (1986) and numerous other awards and grants. Time magazine called his work Òdidactic, polemical, yet often fiercely funnyÉÓ

Text & Presentation is an annual publication devoted to all aspects of theatre scholarship. It represents a selection of the best research presented at the international, interdisciplinary Comparative Drama Conference. This anthology includes papers from the 31st annual conference held in Los Angeles, California. Topics covered include Chicano theatre, the Vietnam War and 9/11 in the French theatre, actresses and modern Hamlet, Asian theatre, Antigone in pre- and post-communist Germany, adapting an Internet comic strip for the stage, and the future of dramatic literature in the academy, among others.

This innovative collection, featuring three plays by Carlos Morton, spans five centuries of Mexican and Mexican American history. In the tradition of teatro campesino, these plays present provocative revisions of historical events. The first play, La Malinche, challenges the historical record of the tragic clash between Indians and Spaniards. The near-mythical La Malinche, who betrayed her country for love of Hernan Cortez but was then betrayed by him, is freed from the bonds of history to have her vengeance. She saves her legacy and destroys the legacy of the conquistador. In the second play, Dreaming on a Sunday in the Alameda, characters from a mural by painter Diego Rivera come to life to depict four centuries of Mexican history. Among these, Frida Kahlo, Rivera’s wife, finally steps out of his shadow as a woman and artist in her own right. Esperanza, a libretto for an opera, tells the story of Mexican miners who labored in twentieth-century Silver City, New Mexico. Based on the classic movie Salt of the Earth, this play deftly portrays the crisis that foretold the rise of the Chicano movement.

Latin American culture has given birth to numerous dramatic works, though it has often been difficult to locate information about these plays and playwrights. This volume traces the history of Latin American theater, including the Nuyorican and Chicano theaters of the United States, and surveys its history from the pre-Columbian period to the present. Sections cover individual Latin American countries. Each section features alphabetically arranged entries for playwrights, independent theaters, and cultural movements. The volume begins with an overview of the development of theater in Latin America. Each of the country sections begins with an introductory survey and concludes with copious bibliographical information. The entries for playwrights provide factual information about the dramatist's life and works and place the author within the larger context of international literature. Each entry closes with a list of works by and about the playwright. A selected, general bibliography appears at the end of the volume.