Skip to main content Accessibility help
×
Hostname: page-component-7dd5485656-pnlb5 Total loading time: 0.001 Render date: 2025-10-22T05:55:07.802Z Has data issue: false hasContentIssue false

Further Reading

Published online by Cambridge University Press:  27 August 2025

Brian Eugenio Herrera
Affiliation:
Princeton University, New Jersey
Anne García-Romero
Affiliation:
University of Notre Dame, Indiana
Get access

Information

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2025

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Book purchase

Temporarily unavailable

References

Primary Sources

Fefu and Her Friends. New expanded edn. New York: PAJ Publications, 2017.Google Scholar
Letters from Cuba and Other Plays. New York: PAJ Publications, 2007.Google Scholar
Maria Irene Fornes: Plays. New York: PAJ Publications, 1986.CrossRefGoogle Scholar
Promenade and Other Plays. New York: PAJ Publications, 1987.Google Scholar
What of the Night? Selected Plays. New York: PAJ Publications, 2008.Google Scholar

Secondary Sources

Cummings, Scott T. Maria Irene Fornes. London: Routledge, 2013.10.4324/9780203816219CrossRefGoogle Scholar
Delgado, Maria M., and Svich, Caridad (eds.). Conducting a Life: Reflections on the Theater of Maria Irene Fornes. Lyme, nh: Smith and Kraus, 1999.Google Scholar
García-Romero, Anne. The Fornes Frame: Contemporary Latina Playwrights and the Legacy of Maria Irene Fornes. Tucson: University of Arizona Press, 2016.Google Scholar
Kent, Assunta Bartolomucci. Maria Irene Fornes and Her Critics. Westport, ct: Greenwood Press, 1996.Google Scholar
Memran, Michelle. The Rest I Make Up. Piece by Piece Productions and White Dock, 2018.Google Scholar
Moroff, Diane. Fornes: Theater in the Present Tense. Ann Arbor: University of Michigan Press, 1996.10.3998/mpub.15337CrossRefGoogle Scholar
Robinson, Marc (ed.). The Theater of Maria Irene Fornes. Baltimore, md: Johns Hopkins University Press, 1999.Google Scholar
Harrington, Stephanie. “Irene Fornes, Playwright: Alice and the Red Queen.” Village Voice, April 21, 1966.Google Scholar
León, Christina A. Matters of Inscription: Reading Figures of Latinidad. New York University Press, 2024.Google Scholar
Martínez, Juan A. Cuban Art and National Identity: The Vanguardia Painters, 1927–1950. Gainesville: University Press of Florida, 1994.Google Scholar
Pérez, Louis A.. On Becoming Cuban: Identity, Nationality, and Culture. New York: Ecco Press, 1999.Google Scholar
Savran, David. “María Irene Fornes.” In Savran, In Their Own Words: Contemporary American Playwrights, pp. 5169. New York: Theatre Communications Group, 1988.Google Scholar
Sohmers Zwerling, Harriet. Abroad: An Expatriate’s Diaries 1950–1959. New York: Sputen Duyvil, 2014.Google Scholar
Sohmers Zwerling, Harriet. “A Memoir of Alfred Chester.” Raritan Quarterly 12.12 (Winter 1993), 112–16.Google Scholar
Sohmers Zwerling, Harriet. Notes of a Nude Model & Other Pieces. New York: Sputen Duyvil, 2003.Google Scholar
Sontag, Susan. Reborn: Journals and Notebooks, 1947–1963. New York: Picador, 2008.Google Scholar
Belgrad, Daniel. The Culture of Spontaneity: Improvisation and the Arts in Postwar America. University of Chicago Press, 1998.Google Scholar
Butler, Isaac. The Method: How the Twentieth Century Learned to Act. New York: Bloomsbury, 2022.Google Scholar
Manso, Peter. Mailer: His Life and Times. New York: Simon & Schuster, 1985.Google Scholar
José Esteban, Muñoz. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press, 1999.Google Scholar
Bottoms, Stephen. Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement. Ann Arbor: University of Michigan Press, 2004.10.3998/mpub.22965CrossRefGoogle Scholar
Crespy, David. “Fortunate Collision: Al Carmines’s Encounter with Claes Oldenburg’s Ray Gun Spex.” Journal of American Drama and Theatre 24.3 (Fall 2012), 6296.Google Scholar
Cummings, Scott T.Pattern Recognition, Reconstructed: The Unlikely Return of Fornés’s Evelyn Brown.” American Theatre, May 22, 2023, americantheatre.org/2023/05/22/pattern-recognition-reconstructed-the-unlikely-return-of-forness-evelyn-brown.Google Scholar
Janevski, Ana. Judson Dance Theater: The Work is Never Done. New York: Museum of Modern Art, 2018.Google Scholar
Mednick, Murray (ed.). Plays from Padua Hills, 1982. Claremont, ca: Pomona College Theater Department, 1983.Google Scholar
Mednick, Murray, with Raden, Bill and Slean, Cheryl (eds.). Best of the West: An Anthology of Plays from the 1989 and 1990 Padua Hills Playwrights Festivals. Los Angeles, ca: Padua Hills Press, 1991.Google Scholar
Onstad, Andréa J. “Conducting a Pedagogy: The Influence of Maria Irene Fornés’s Teaching and the Padua Hills Playwrights Workshop and Festival on Three Contemporary Women Playwrights.” PhD dissertation (University of Missouri-Columbia, 2009).Google Scholar
Zimmerman, Guy (ed.). Outlaw Theatre: Fieldnotes from the Padua Hills Playwrights Workshop and Festival. Los Angeles, ca: Padua Playwrights Press, 2022.Google Scholar
de la Roche, Elisa. Teatro Hispano! Three Major New York Companies. New York: Garland, 1995.Google Scholar
Gale, Maggie Barbara, and Gardner, Vivien (eds.). Auto/biography and Identity: Women, Theatre, and Performance. Manchester University Press, 2004.Google Scholar
Pottlitzer, Joanne. Hispanic Theater in the United States and Puerto Rico: A Report to the Ford Foundation. New York: Ford Foundation, 1988.Google Scholar
Beech, Maria Alexandria. “María Irene Fornés,” in Boffone, Trevor (ed.), 50 Playwrights Project (November 3, 2018), https://50playwrights.org/2018/11/03/maria-irene-fornes.Google Scholar
Berman, Brooke, Cruz, Migdalia, Hébert, Julie, García-Romero, Anne, Maisel, Jennifer, Mayer, Oliver, Ong, Han, Schlesinger, Lisa, Svich, Caridad, Solomon, Alisa, and Troyano, Alina. “The Legacy of Maria Irene Fornes: A Collection of Impressions and Exercises.” PAJ: A Journal of Performance and Art 31.3 (September 2009), 132.Google Scholar
Cortiñas, Jorge Ignacio. “Fefu and Her Pleasures.” American Theatre, January 8, 2021, https://www.americantheatre.org/2021/01/08/fefu-and-her-pleasures.Google Scholar
Herrington, Joan and Brian, Crystal (eds.). Playwrights Teach Playwriting. Hanover, nh: Smith and Kraus. 2006.Google Scholar
Ruhl, Sarah. “Six Small Thoughts on Fornés, the Problem of Intention, and Willfulness.” Theatre Topics 11.2 (September 2001), 187204.CrossRefGoogle Scholar
Lucinda, Barnes. Hans Hofmann: The Nature of Abstraction. Berkeley, ca: University of California Press, 2019.Google Scholar
Dickey, Tina. Color Creates Light: Studies with Hans Hofmann. Salt Spring Island, bc: Trillistar Books, 2011.Google Scholar
Jaffe, Irma B.A Conversation with Hans Hofmann.” Artforum 9.5 (January 1, 1971), 3439.Google Scholar
Kaprow, Allan. Essays on the Blurring of Art and Life, ed. Kelley, Jeff. Expanded edn. Berkeley: University of California Press, 2003.Google Scholar
Shanahan, Ann M.Playing House: Staging Experiments about Women in Domestic Space.” Theatre Topics 23.2 (September 2013), 129–44.10.1353/tt.2013.0028CrossRefGoogle Scholar
Moser, Benjamin. Susan Sontag: Her Life and Work. New York: HarperCollins, 2019.Google Scholar
Rieff, David, Swimming in a Sea of Death: A Son’s Memoir. New York: Simon & Schuster, 2008.Google Scholar
Sontag, Susan. Against Interpretation. New York: Dell, 1966.Google Scholar
Sontag, Susan. As Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964–1980, ed. Rieff, David. New York: Picador, 2013.Google Scholar
Sontag, Susan. Reborn: Journals and Notebooks, 1947–1963, ed. Rieff, David. New York: Picador, 2008.Google Scholar
Fornes, Maria Irene. In “Ages of the Avant-Garde,” Performing Arts Journal 16.1 (January 1994), 21–23.Google Scholar
Haslip-Viera, Gabriel. “The Evolution of the Latino Community in New York City: Early Nineteenth Century to the 1990s,” in Remeseira, Claudio Iván (ed.), Hispanic New York: A Sourcebook, pp. 3356. New York: Columbia University Press, 2010.Google Scholar
Kozinn, Allan. “Theater World Friends Bring Ailing Playwright Closer To Home.” New York Times, February 6, 2013.Google Scholar
Harrington, Stephanie. “Irene Fornes, Playwright: Alice and the Red Queen.” Village Voice, April 21, 1966.Google Scholar
León, Christina A. Matters of Inscription: Reading Figures of Latinidad. New York University Press, 2024.Google Scholar
Martínez, Juan A. Cuban Art and National Identity: The Vanguardia Painters, 1927–1950. Gainesville: University Press of Florida, 1994.Google Scholar
Pérez, Louis A.. On Becoming Cuban: Identity, Nationality, and Culture. New York: Ecco Press, 1999.Google Scholar
Savran, David. “María Irene Fornes.” In Savran, In Their Own Words: Contemporary American Playwrights, pp. 5169. New York: Theatre Communications Group, 1988.Google Scholar
Sohmers Zwerling, Harriet. Abroad: An Expatriate’s Diaries 1950–1959. New York: Sputen Duyvil, 2014.Google Scholar
Sohmers Zwerling, Harriet. “A Memoir of Alfred Chester.” Raritan Quarterly 12.12 (Winter 1993), 112–16.Google Scholar
Sohmers Zwerling, Harriet. Notes of a Nude Model & Other Pieces. New York: Sputen Duyvil, 2003.Google Scholar
Sontag, Susan. Reborn: Journals and Notebooks, 1947–1963. New York: Picador, 2008.Google Scholar
Belgrad, Daniel. The Culture of Spontaneity: Improvisation and the Arts in Postwar America. University of Chicago Press, 1998.Google Scholar
Butler, Isaac. The Method: How the Twentieth Century Learned to Act. New York: Bloomsbury, 2022.Google Scholar
Manso, Peter. Mailer: His Life and Times. New York: Simon & Schuster, 1985.Google Scholar
José Esteban, Muñoz. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press, 1999.Google Scholar
Bottoms, Stephen. Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement. Ann Arbor: University of Michigan Press, 2004.10.3998/mpub.22965CrossRefGoogle Scholar
Crespy, David. “Fortunate Collision: Al Carmines’s Encounter with Claes Oldenburg’s Ray Gun Spex.” Journal of American Drama and Theatre 24.3 (Fall 2012), 6296.Google Scholar
Cummings, Scott T.Pattern Recognition, Reconstructed: The Unlikely Return of Fornés’s Evelyn Brown.” American Theatre, May 22, 2023, americantheatre.org/2023/05/22/pattern-recognition-reconstructed-the-unlikely-return-of-forness-evelyn-brown.Google Scholar
Janevski, Ana. Judson Dance Theater: The Work is Never Done. New York: Museum of Modern Art, 2018.Google Scholar
Mednick, Murray (ed.). Plays from Padua Hills, 1982. Claremont, ca: Pomona College Theater Department, 1983.Google Scholar
Mednick, Murray, with Raden, Bill and Slean, Cheryl (eds.). Best of the West: An Anthology of Plays from the 1989 and 1990 Padua Hills Playwrights Festivals. Los Angeles, ca: Padua Hills Press, 1991.Google Scholar
Onstad, Andréa J. “Conducting a Pedagogy: The Influence of Maria Irene Fornés’s Teaching and the Padua Hills Playwrights Workshop and Festival on Three Contemporary Women Playwrights.” PhD dissertation (University of Missouri-Columbia, 2009).Google Scholar
Zimmerman, Guy (ed.). Outlaw Theatre: Fieldnotes from the Padua Hills Playwrights Workshop and Festival. Los Angeles, ca: Padua Playwrights Press, 2022.Google Scholar
de la Roche, Elisa. Teatro Hispano! Three Major New York Companies. New York: Garland, 1995.Google Scholar
Gale, Maggie Barbara, and Gardner, Vivien (eds.). Auto/biography and Identity: Women, Theatre, and Performance. Manchester University Press, 2004.Google Scholar
Pottlitzer, Joanne. Hispanic Theater in the United States and Puerto Rico: A Report to the Ford Foundation. New York: Ford Foundation, 1988.Google Scholar
Beech, Maria Alexandria. “María Irene Fornés,” in Boffone, Trevor (ed.), 50 Playwrights Project (November 3, 2018), https://50playwrights.org/2018/11/03/maria-irene-fornes.Google Scholar
Berman, Brooke, Cruz, Migdalia, Hébert, Julie, García-Romero, Anne, Maisel, Jennifer, Mayer, Oliver, Ong, Han, Schlesinger, Lisa, Svich, Caridad, Solomon, Alisa, and Troyano, Alina. “The Legacy of Maria Irene Fornes: A Collection of Impressions and Exercises.” PAJ: A Journal of Performance and Art 31.3 (September 2009), 132.Google Scholar
Cortiñas, Jorge Ignacio. “Fefu and Her Pleasures.” American Theatre, January 8, 2021, https://www.americantheatre.org/2021/01/08/fefu-and-her-pleasures.Google Scholar
Herrington, Joan and Brian, Crystal (eds.). Playwrights Teach Playwriting. Hanover, nh: Smith and Kraus. 2006.Google Scholar
Ruhl, Sarah. “Six Small Thoughts on Fornés, the Problem of Intention, and Willfulness.” Theatre Topics 11.2 (September 2001), 187204.CrossRefGoogle Scholar
Lucinda, Barnes. Hans Hofmann: The Nature of Abstraction. Berkeley, ca: University of California Press, 2019.Google Scholar
Dickey, Tina. Color Creates Light: Studies with Hans Hofmann. Salt Spring Island, bc: Trillistar Books, 2011.Google Scholar
Jaffe, Irma B.A Conversation with Hans Hofmann.” Artforum 9.5 (January 1, 1971), 3439.Google Scholar
Kaprow, Allan. Essays on the Blurring of Art and Life, ed. Kelley, Jeff. Expanded edn. Berkeley: University of California Press, 2003.Google Scholar
Shanahan, Ann M.Playing House: Staging Experiments about Women in Domestic Space.” Theatre Topics 23.2 (September 2013), 129–44.10.1353/tt.2013.0028CrossRefGoogle Scholar
Moser, Benjamin. Susan Sontag: Her Life and Work. New York: HarperCollins, 2019.Google Scholar
Rieff, David, Swimming in a Sea of Death: A Son’s Memoir. New York: Simon & Schuster, 2008.Google Scholar
Sontag, Susan. Against Interpretation. New York: Dell, 1966.Google Scholar
Sontag, Susan. As Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964–1980, ed. Rieff, David. New York: Picador, 2013.Google Scholar
Sontag, Susan. Reborn: Journals and Notebooks, 1947–1963, ed. Rieff, David. New York: Picador, 2008.Google Scholar
Fornes, Maria Irene. In “Ages of the Avant-Garde,” Performing Arts Journal 16.1 (January 1994), 21–23.Google Scholar
Haslip-Viera, Gabriel. “The Evolution of the Latino Community in New York City: Early Nineteenth Century to the 1990s,” in Remeseira, Claudio Iván (ed.), Hispanic New York: A Sourcebook, pp. 3356. New York: Columbia University Press, 2010.Google Scholar
Kozinn, Allan. “Theater World Friends Bring Ailing Playwright Closer To Home.” New York Times, February 6, 2013.Google Scholar
Banes, Sally. Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body. Durham, nc: Duke University Press, 1993.Google Scholar
Cole, Susan Letzler. Directors in Rehearsal: A Hidden World. New York: Routledge, 1992.Google Scholar
Cole, Susan Letzler. Playwrights in Rehearsal: The Seduction of Company. New York: Routledge, 2001.Google Scholar
Cummings, Scott T.Psychic Space: The Interiors of Maria Irene Fornes.” Journal of American Drama and Theatre 10 (Spring 1998), 59733.Google Scholar
Marranca, Bonnie. “The Real Life of Maria Irene Fornes.” Performing Arts Journal 8.1 (1984), 68.10.2307/3245402CrossRefGoogle Scholar
Aronson, Arnold. American Avant-Garde Theatre: A History. New York: Routledge, 2000.Google Scholar
Bottoms, Stephen. Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement. Ann Arbor: University of Michigan Press, 2004.10.3998/mpub.22965CrossRefGoogle Scholar
Harding, James. “Looking Back at a Funhouse Mirror: Reflections on Experimental Theater in the Sixties,” in Harding, James M. and Rosenthal, Cindy (eds.), The Sixties, Center Stage: Mainstream and Popular Performances in a Turbulent Decade, pp. 367–80. Ann Arbor: University of Michigan Press, 2017.Google Scholar
Olson, Christopher. Off-Off Broadway: The Second Wave 1968–1980. CreateSpace Publishing, 2011.Google Scholar
Bottoms, Stephen, and Goulish, Matthew (eds.). Small Acts of Repair: Performance, Ecology and Goat Island. London and New York: Routledge, 2007.Google Scholar
Kaprow, Allan. Essays on the Blurring of Art and Life, ed. Kelley, Jeff. Berkeley: University of California Press, 1996.Google Scholar
Mednick, Murray, Raden, Bill, and Slean, Cheryl (eds.). Best of the West: An Anthology of Plays from the 1989 and 1990 Padua Hills Playwrights Festivals. Los Angeles, ca: Padua Hills Press, 1991.Google Scholar
Sandford, Mariellen R. (ed.). Happenings and Other Acts. London and New York: Routledge, 1995.Google Scholar
Schechner, Richard. Environmental Theater. Expanded edition. New York: Applause, 1994.Google Scholar
Fornés, María Irene, and Creese, Robb (interview). “I Write These Messages that Come.” The Drama Review: TDR 21.4 (1977), 2540.10.2307/1145134CrossRefGoogle Scholar
London, Todd. “A Lover’s Guide to American Playwrights: María Irene Fornés.” HowlRound, April 10, 2018, https://howlround.com/lovers-guide-american-playwrights-1.Google Scholar
Mayer-García, Eric. “Feeling Brown Like You: Creación Colectiva and Latinx Affect in Fornes’s Cap-a-Pie.” Chiricú Journal: Latina/o Literatures, Arts, and Cultures 3.1 (Fall 2018), 2348.10.2979/chiricu.3.1.04CrossRefGoogle Scholar
Salzman, Eric, and Desi, Thomas. The New Music Theater: Seeing the Voice, Hearing the Body.New York: Oxford University Press, 2008.Google Scholar
Bottoms, Stephen. “‘Language is the Motor’: Maria Irene Fornes’s Promenade as Text and Performance.” New England Theatre Journal 8 (1997), 4571.Google Scholar
Conkie, Rob. “Sudoku Shakespeare,” in Conkie, Writing Performative Shakespeares: New Forms for Performance Criticism, pp. 4968. Cambridge University Press, 2016.CrossRefGoogle Scholar
Goldberg, RoseLee. Performance Art: From Futurism to Present. London: Thames & Hudson, 2011.Google Scholar
Lehmann, Hans-Thies. Postdramatic Theatre. New York: Routledge, 2006.10.4324/9780203088104CrossRefGoogle Scholar
Brodie, Geraldine, and Cole, Emma (eds.). Adapting Translation for the Stage. London: Routledge, 2017.10.4324/9781315436814CrossRefGoogle Scholar
Fornés, María Irene. La conducta de la vida, trans. María Irene Fornés and David Olguín, in Olguín, David, Potter, Robert, and Slazek, Joanna (eds.), Teatro norteamericano contemporaneo. México: Ediciones de Milagro, 1995.Google Scholar
Fornés, María Irene. La conducta de la vida, trans. Alberto Sarraín, in Manzor, Lillian and Sarraín, Alberto (eds.), Teatro cubano actual: Dramaturgia escrita en los Estados Unidos. La Habana: Editores Alarcos, 2005.Google Scholar
López, Tiffany Ana. “Maria Irene Fornes, The Conduct of Life,” in Quintana, Alvina E. (ed.), Reading U.S. Latina Writers: Remapping American Literature, pp. 7789. New York: Palgrave Macmillan, 2003.Google Scholar
Robinson, Marc. The Other American Drama. Cambridge University Press, 1994.Google Scholar
Banes, Sally. Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body. Durham, nc: Duke University Press, 1993.Google Scholar
Cole, Susan Letzler. Directors in Rehearsal: A Hidden World. New York: Routledge, 1992.Google Scholar
Cole, Susan Letzler. Playwrights in Rehearsal: The Seduction of Company. New York: Routledge, 2001.Google Scholar
Cummings, Scott T.Psychic Space: The Interiors of Maria Irene Fornes.” Journal of American Drama and Theatre 10 (Spring 1998), 59733.Google Scholar
Marranca, Bonnie. “The Real Life of Maria Irene Fornes.” Performing Arts Journal 8.1 (1984), 68.10.2307/3245402CrossRefGoogle Scholar
Aronson, Arnold. American Avant-Garde Theatre: A History. New York: Routledge, 2000.Google Scholar
Bottoms, Stephen. Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement. Ann Arbor: University of Michigan Press, 2004.10.3998/mpub.22965CrossRefGoogle Scholar
Harding, James. “Looking Back at a Funhouse Mirror: Reflections on Experimental Theater in the Sixties,” in Harding, James M. and Rosenthal, Cindy (eds.), The Sixties, Center Stage: Mainstream and Popular Performances in a Turbulent Decade, pp. 367–80. Ann Arbor: University of Michigan Press, 2017.Google Scholar
Olson, Christopher. Off-Off Broadway: The Second Wave 1968–1980. CreateSpace Publishing, 2011.Google Scholar
Bottoms, Stephen, and Goulish, Matthew (eds.). Small Acts of Repair: Performance, Ecology and Goat Island. London and New York: Routledge, 2007.Google Scholar
Kaprow, Allan. Essays on the Blurring of Art and Life, ed. Kelley, Jeff. Berkeley: University of California Press, 1996.Google Scholar
Mednick, Murray, Raden, Bill, and Slean, Cheryl (eds.). Best of the West: An Anthology of Plays from the 1989 and 1990 Padua Hills Playwrights Festivals. Los Angeles, ca: Padua Hills Press, 1991.Google Scholar
Sandford, Mariellen R. (ed.). Happenings and Other Acts. London and New York: Routledge, 1995.Google Scholar
Schechner, Richard. Environmental Theater. Expanded edition. New York: Applause, 1994.Google Scholar
Fornés, María Irene, and Creese, Robb (interview). “I Write These Messages that Come.” The Drama Review: TDR 21.4 (1977), 2540.10.2307/1145134CrossRefGoogle Scholar
London, Todd. “A Lover’s Guide to American Playwrights: María Irene Fornés.” HowlRound, April 10, 2018, https://howlround.com/lovers-guide-american-playwrights-1.Google Scholar
Mayer-García, Eric. “Feeling Brown Like You: Creación Colectiva and Latinx Affect in Fornes’s Cap-a-Pie.” Chiricú Journal: Latina/o Literatures, Arts, and Cultures 3.1 (Fall 2018), 2348.10.2979/chiricu.3.1.04CrossRefGoogle Scholar
Salzman, Eric, and Desi, Thomas. The New Music Theater: Seeing the Voice, Hearing the Body.New York: Oxford University Press, 2008.Google Scholar
Bottoms, Stephen. “‘Language is the Motor’: Maria Irene Fornes’s Promenade as Text and Performance.” New England Theatre Journal 8 (1997), 4571.Google Scholar
Conkie, Rob. “Sudoku Shakespeare,” in Conkie, Writing Performative Shakespeares: New Forms for Performance Criticism, pp. 4968. Cambridge University Press, 2016.CrossRefGoogle Scholar
Goldberg, RoseLee. Performance Art: From Futurism to Present. London: Thames & Hudson, 2011.Google Scholar
Lehmann, Hans-Thies. Postdramatic Theatre. New York: Routledge, 2006.10.4324/9780203088104CrossRefGoogle Scholar
Brodie, Geraldine, and Cole, Emma (eds.). Adapting Translation for the Stage. London: Routledge, 2017.10.4324/9781315436814CrossRefGoogle Scholar
Fornés, María Irene. La conducta de la vida, trans. María Irene Fornés and David Olguín, in Olguín, David, Potter, Robert, and Slazek, Joanna (eds.), Teatro norteamericano contemporaneo. México: Ediciones de Milagro, 1995.Google Scholar
Fornés, María Irene. La conducta de la vida, trans. Alberto Sarraín, in Manzor, Lillian and Sarraín, Alberto (eds.), Teatro cubano actual: Dramaturgia escrita en los Estados Unidos. La Habana: Editores Alarcos, 2005.Google Scholar
López, Tiffany Ana. “Maria Irene Fornes, The Conduct of Life,” in Quintana, Alvina E. (ed.), Reading U.S. Latina Writers: Remapping American Literature, pp. 7789. New York: Palgrave Macmillan, 2003.Google Scholar
Robinson, Marc. The Other American Drama. Cambridge University Press, 1994.Google Scholar
Cuban Theater Digital Archive, directed by Lillian Manzor. University of Miami Libraries and College of Arts and Sciences, 2011. http://cubantheater.org.Google Scholar
Fornés, María Irene. “Viuda,” in Teatro cubano: Cuatro obras recomendadas en el II Concurso Literario Hispanoamericano de la Casa de Las Américas, pp. 755. Casa de las Américas, 1961.Google Scholar
Manzor, Lillian. Marginality Beyond Return: US Cuban Performances in the 1980s and 1990s. London: Routledge, 2023.Google Scholar
Manzor, Lillian, Rimkus, Kyle, and Ogihara, Mitsunori. “Cuban Theater Digital Archive: A Multimodal Platform for Theater Documentation and Research.” In Nesi, Paola and Santucci, Rafaella (eds.), ECLAP 2013, LNCS 7990, pp. 138–50. Berlin: Springer, 2013.Google Scholar
Muñoz, José E.Ephemera as Evidence: Introductory Notes to Queer Acts.” Women and Performance: A Journal of Feminist Theory 8.2 (1996), 516.10.1080/07407709608571228CrossRefGoogle Scholar
Tello, Andrés M. Anarchivismo: Tecnologías políticas del archivo. Buenos Aires: Ediciones La Cebra, 2018.Google Scholar
Cortiñas, Jorge Ignacio. “Fefu and Her Pleasures.” American Theatre, January 8, 2021, https://www.americantheatre.org/2021/01/08/fefu-and-her-pleasures.Google Scholar
López, Tiffany Ana. “Maria Irene Fornés, The Conduct of Life,” in Quintana, Alvina E. (ed.), Reading U.S. Latina Writers: Remapping American Literature, pp. 7789. New York: Palgrave Macmillan, 2003.Google Scholar
Mayer-García, Eric. “Feeling Brown Like You: Creación Colectiva and Latinx Affect in Fornés’ Cap a Pie.” Chiricú Journal: Latina/o Literatures, Arts, and Cultures 3.1 (2018), 2348.10.2979/chiricu.3.1.04CrossRefGoogle Scholar
Muñoz, José Esteban. The Sense of Brown: Ethnicity, Affect and Performance, ed. Chambers-Letson, Joshua and Nyong’o, Tavia. Durham, nc: Duke University Press, 2020.Google Scholar
Oboler, Suzanne. Ethnic Labels, Latino Lives: Identity and the Politics of (Re)presentation in the United States. Minneapolis: University of Minnesota Press, 1995.Google Scholar
Aronson, Arnold. American Avant-Garde Theatre: A History. New York: Routledge, 2000.Google Scholar
Listengarten, Julia and Di Benedetto, Stephen (eds.). The Cambridge Companion to American Theatre Since 1945. Cambridge University Press, 2021.CrossRefGoogle Scholar
Marranca, Bonnie. “Ages of the Avant-Garde.” Performing Arts Journal 16.1 (January 1994), 957.10.2307/3245826CrossRefGoogle Scholar
Munk, Erica, and Sellar, Tom (eds.). “Special Issue on Theater and Utopia.” Theater 26.1–2 (Summer/Fall 1995).Google Scholar
Muñoz, José Esteban. The Sense of Brown: Ethnicity, Affect and Performance, ed. Lutson, Joshua Chambers and N’yongo, Tavia. Durham, nc: Duke University Press, 2020.Google Scholar
Schneider, Rebecca. The Explicit Body in Performance. New York: Routledge, 1997.Google Scholar
Alker, Gwendolyn. “Fornesian Animality: María Irene Fornés’s Challenge to a Politics of Identity.” Journal of Dramatic Theory and Criticism 35.1 (Fall 2020), 928.10.1353/dtc.2020.0017CrossRefGoogle Scholar
Chaudhuri, Una. “Animal Geographies: Zooësis and the Space of Modern Drama.” Modern Drama 46.4 (Winter 2003), 646–62.Google Scholar
Haraway, Donna J. When Species Meet. Minneapolis: University of Minnesota Press, 2007.Google Scholar
Lowenhaupt Tsing, Anne, with Swanson, Heather Anne, Gan, Elaine, and Bubandt, Nils (eds.). Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene. Minneapolis: University of Minnesota Press, 2017.Google Scholar
Alker, Gwendolyn. “Fornesian Animality: María Irene Fornés’s Challenge to a Politics of Identity.” Journal of Dramatic Theory and Criticism 35.1 (Fall 2020), 928.10.1353/dtc.2020.0017CrossRefGoogle Scholar
Austin, Gayle with Brooks, Colette, Wray, Elizabeth, Miles, Julia, Kellogg, Marjorie Bradley, Malpede, Karen, Schenkar, Joan, Cattaneo, Anne, Sklar, Roberta, and Fornes, Maria Irene. “The ‘Woman’ Playwright Issue.” Performing Arts Journal 7.3 (1983), 87102.10.2307/3245154CrossRefGoogle Scholar
Cummings, Scott T.Seeing with Clarity: The Visions of Maria Irene Fornes.” Theater 17.1 (February 1985), 5156.10.1215/01610775-17-1-51CrossRefGoogle Scholar
Fornés, Maria Irene, Howe, Tina, and Stuart, Jan. “Maria Irene Fornés and Tina Howe: Women’s Work.” American Theatre, September 1, 1985, 1015.Google Scholar
Ahmed, Sara. The Promise of Happiness. Durham, nc: Duke University Press, 2010.Google Scholar
Austin, Gayle. “The Madwoman in the Spotlight: Plays of Maria Irene Fornes,” in Hart, Lynda (ed.), Making a Spectacle: Feminist Essays on Contemporary Women’s Theatre, pp. 7685. Ann Arbor: University of Michigan Press, 1989.Google Scholar
Lefevre, Finn. “Toward and Away: The Dramatic Tension of a Queer & Trans Canon,” in Mantoan, Lindsey, Moore, Matthew, and Farr Schiller, Angela (eds.), Troubling Traditions: Canonicity, Theatre, and Performance in the US, pp. 175–87. London: Routledge, 2022.Google Scholar
Love, Heather. Feeling Backward: Loss and the Politics of Queer History. Cambridge, ma: Harvard University Press, 2007.Google Scholar
Wolf, Stacy. “Re/presenting Gender, Re/presenting Violence: Feminism, Form and the Plays of Maria Irene Fornes.” Theatre Studies 37 (1992), 1731.Google Scholar
Kitwood, Tom. Dementia Reconsidered: The Person Comes First. Buckingham: Open University Press, 1997.Google Scholar
Mitchell, Wendy. What I Wish People Knew about Dementia. London: Bloomsbury, 2022.Google Scholar
Sacks, Oliver. Gratitude. New York: Knopf, 2015.Google Scholar
Shenk, David. The Forgetting. New York: Anchor, 2003.Google Scholar
Cuban Theater Digital Archive, directed by Lillian Manzor. University of Miami Libraries and College of Arts and Sciences, 2011. http://cubantheater.org.Google Scholar
Fornés, María Irene. “Viuda,” in Teatro cubano: Cuatro obras recomendadas en el II Concurso Literario Hispanoamericano de la Casa de Las Américas, pp. 755. Casa de las Américas, 1961.Google Scholar
Manzor, Lillian. Marginality Beyond Return: US Cuban Performances in the 1980s and 1990s. London: Routledge, 2023.Google Scholar
Manzor, Lillian, Rimkus, Kyle, and Ogihara, Mitsunori. “Cuban Theater Digital Archive: A Multimodal Platform for Theater Documentation and Research.” In Nesi, Paola and Santucci, Rafaella (eds.), ECLAP 2013, LNCS 7990, pp. 138–50. Berlin: Springer, 2013.Google Scholar
Muñoz, José E.Ephemera as Evidence: Introductory Notes to Queer Acts.” Women and Performance: A Journal of Feminist Theory 8.2 (1996), 516.10.1080/07407709608571228CrossRefGoogle Scholar
Tello, Andrés M. Anarchivismo: Tecnologías políticas del archivo. Buenos Aires: Ediciones La Cebra, 2018.Google Scholar
Cortiñas, Jorge Ignacio. “Fefu and Her Pleasures.” American Theatre, January 8, 2021, https://www.americantheatre.org/2021/01/08/fefu-and-her-pleasures.Google Scholar
López, Tiffany Ana. “Maria Irene Fornés, The Conduct of Life,” in Quintana, Alvina E. (ed.), Reading U.S. Latina Writers: Remapping American Literature, pp. 7789. New York: Palgrave Macmillan, 2003.Google Scholar
Mayer-García, Eric. “Feeling Brown Like You: Creación Colectiva and Latinx Affect in Fornés’ Cap a Pie.” Chiricú Journal: Latina/o Literatures, Arts, and Cultures 3.1 (2018), 2348.10.2979/chiricu.3.1.04CrossRefGoogle Scholar
Muñoz, José Esteban. The Sense of Brown: Ethnicity, Affect and Performance, ed. Chambers-Letson, Joshua and Nyong’o, Tavia. Durham, nc: Duke University Press, 2020.Google Scholar
Oboler, Suzanne. Ethnic Labels, Latino Lives: Identity and the Politics of (Re)presentation in the United States. Minneapolis: University of Minnesota Press, 1995.Google Scholar
Aronson, Arnold. American Avant-Garde Theatre: A History. New York: Routledge, 2000.Google Scholar
Listengarten, Julia and Di Benedetto, Stephen (eds.). The Cambridge Companion to American Theatre Since 1945. Cambridge University Press, 2021.CrossRefGoogle Scholar
Marranca, Bonnie. “Ages of the Avant-Garde.” Performing Arts Journal 16.1 (January 1994), 957.10.2307/3245826CrossRefGoogle Scholar
Munk, Erica, and Sellar, Tom (eds.). “Special Issue on Theater and Utopia.” Theater 26.1–2 (Summer/Fall 1995).Google Scholar
Muñoz, José Esteban. The Sense of Brown: Ethnicity, Affect and Performance, ed. Lutson, Joshua Chambers and N’yongo, Tavia. Durham, nc: Duke University Press, 2020.Google Scholar
Schneider, Rebecca. The Explicit Body in Performance. New York: Routledge, 1997.Google Scholar
Alker, Gwendolyn. “Fornesian Animality: María Irene Fornés’s Challenge to a Politics of Identity.” Journal of Dramatic Theory and Criticism 35.1 (Fall 2020), 928.10.1353/dtc.2020.0017CrossRefGoogle Scholar
Chaudhuri, Una. “Animal Geographies: Zooësis and the Space of Modern Drama.” Modern Drama 46.4 (Winter 2003), 646–62.Google Scholar
Haraway, Donna J. When Species Meet. Minneapolis: University of Minnesota Press, 2007.Google Scholar
Lowenhaupt Tsing, Anne, with Swanson, Heather Anne, Gan, Elaine, and Bubandt, Nils (eds.). Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene. Minneapolis: University of Minnesota Press, 2017.Google Scholar
Alker, Gwendolyn. “Fornesian Animality: María Irene Fornés’s Challenge to a Politics of Identity.” Journal of Dramatic Theory and Criticism 35.1 (Fall 2020), 928.10.1353/dtc.2020.0017CrossRefGoogle Scholar
Austin, Gayle with Brooks, Colette, Wray, Elizabeth, Miles, Julia, Kellogg, Marjorie Bradley, Malpede, Karen, Schenkar, Joan, Cattaneo, Anne, Sklar, Roberta, and Fornes, Maria Irene. “The ‘Woman’ Playwright Issue.” Performing Arts Journal 7.3 (1983), 87102.10.2307/3245154CrossRefGoogle Scholar
Cummings, Scott T.Seeing with Clarity: The Visions of Maria Irene Fornes.” Theater 17.1 (February 1985), 5156.10.1215/01610775-17-1-51CrossRefGoogle Scholar
Fornés, Maria Irene, Howe, Tina, and Stuart, Jan. “Maria Irene Fornés and Tina Howe: Women’s Work.” American Theatre, September 1, 1985, 1015.Google Scholar
Ahmed, Sara. The Promise of Happiness. Durham, nc: Duke University Press, 2010.Google Scholar
Austin, Gayle. “The Madwoman in the Spotlight: Plays of Maria Irene Fornes,” in Hart, Lynda (ed.), Making a Spectacle: Feminist Essays on Contemporary Women’s Theatre, pp. 7685. Ann Arbor: University of Michigan Press, 1989.Google Scholar
Lefevre, Finn. “Toward and Away: The Dramatic Tension of a Queer & Trans Canon,” in Mantoan, Lindsey, Moore, Matthew, and Farr Schiller, Angela (eds.), Troubling Traditions: Canonicity, Theatre, and Performance in the US, pp. 175–87. London: Routledge, 2022.Google Scholar
Love, Heather. Feeling Backward: Loss and the Politics of Queer History. Cambridge, ma: Harvard University Press, 2007.Google Scholar
Wolf, Stacy. “Re/presenting Gender, Re/presenting Violence: Feminism, Form and the Plays of Maria Irene Fornes.” Theatre Studies 37 (1992), 1731.Google Scholar
Kitwood, Tom. Dementia Reconsidered: The Person Comes First. Buckingham: Open University Press, 1997.Google Scholar
Mitchell, Wendy. What I Wish People Knew about Dementia. London: Bloomsbury, 2022.Google Scholar
Sacks, Oliver. Gratitude. New York: Knopf, 2015.Google Scholar
Shenk, David. The Forgetting. New York: Anchor, 2003.Google Scholar
García-Romero, Anne. “Replicating Irene’s Room: Sustaining Fornesian Playwriting in the 21st Century.” Theatre Topics 31.2 (July 2021), 8798.10.1353/tt.2021.0024CrossRefGoogle Scholar
Herrera, Brian Eugenio. “The Dramatist’s Call To Action: The Provocative Prescience of James Baldwin and María Irene Fornés.” Theater 49.1 (February 2019), 7895.10.1215/01610775-7253795CrossRefGoogle Scholar
Herrington, Joan, and Brian, Crystal (eds.). Playwrights Teach Playwriting. Hanover, nh: Smith and Kraus, 2006.Google Scholar
Svich, Caridad. “The Legacy of Maria Irene Fornes: A Collection of Impressions and Exercises.” PAJ: A Journal of Performance and Art 31.3 (September 2009), 132.Google Scholar
Kondo, Dorinne. Worldmaking: Race, Performance, and the Work of Creativity. Durham, nc: Duke University Press, 2018.Google Scholar
Romero, Elaine, and García-Romero, Anne. “Expanding the Chair: A Conversation on Fornés’s Pedagogy in Action.” Theatre Topics 27.11 (March 2017), 8390.10.1353/tt.2017.0000CrossRefGoogle Scholar
Rossini, Jon D. Contemporary Latina/o Theatre: Wrighting Ethnicity. Carbondale: Southern Illinois University Press, 2008.Google Scholar
Assmann, Aleida. “Canon and Archive,” in Erll, Astrid and Nünning, Ansgar (eds.), A Companion to Cultural Memory Studies, pp. 97108. Berlin: DeGruyter, 2010.10.1515/9783110207262.2.97CrossRefGoogle Scholar
Renganathan, Mala. Understanding Maria Irene Fornes’ Theatre. Champaign, il: Common Ground, 2010.10.18848/978-1-86335-750-0/CGPCrossRefGoogle Scholar
Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, nc: Duke University Press, 2003.Google Scholar
“Ages of the Avant-Garde,” Performing Arts Journal 16.1 (January 1994), 9–57.Google Scholar
Carriger, Michelle Liu, and Laine, Eero. “‘Cultivating a Small Field’: On the Work of Citation in Theatre and Performance Studies Scholarship.” Theatre Topics 33.2 (July 2023), 8389.10.1353/tt.2023.a901200CrossRefGoogle Scholar
Marranca, Bonnie. Ecologies of Theater: Essays at the Century Turning. Baltimore, md: Johns Hopkins University Press, 1996.10.56021/9780801852725CrossRefGoogle Scholar
Marranca, Bonnie. Theatrewritings. New York: PAJ Publications, 1984.Google Scholar
Marranca, Bonnie. “Thinking about Maria Irene Fornés.” PAJ: A Journal of Performance and Art 41.1 (2019), 13.Google Scholar
Alker, Gwendolyn. “Recovering Evelyn Brown.” PAJ: A Journal of Performance and Art 46.1 (2024), 1425.Google Scholar
Grose, Joann. “An Icon of Avant-Garde.” Charlotte Observer, March 22, 2001, 3E.Google Scholar
Rosten, Bevya, with Levine, Anne-Marie, Stimpson, Catharine, Howard, Richard, Steiner, Wendy, Fornes, Maria Irene, Wellman, Mac, Carmines, Al, Foreman, Richard, Bernstein, Charles, and Bowers, Jane. “A Play to Be Performed: Excerpts from the Gertrude Stein Symposium at New York University.” Theater 32.2 (Summer 2002), 325.10.1215/01610775-32-2-3CrossRefGoogle Scholar
Stein, Gertrude. The Autobiography of Alice B. Toklas. New York: Vintage, 1960.Google Scholar
Souhami, Diana. Gertrude and Alice. London: Pandora, 1991.Google Scholar
Bergman, Daniel J.Prospective Teachers’ Perceptions of Influential Teacher Qualities.” The Advocate 23.6 (Summer 2018), 123.10.4148/2637-4552.1005CrossRefGoogle Scholar
Betsko, Kathleen, and Koenig, Rachel. “Maria Irene Fornes,” in Betsko, and Koenig, , Interviews with Contemporary Women Playwrights, pp. 154–67. New York: William Morrow, 1987.Google Scholar
Boffone, Trevor, with Marrero, Teresa and Rodriguez, Chantal (eds.). Encuentro: Latinx Performance for the New American Theatre. Evanston, il: Northwestern University Press, 2019.Google Scholar
Herrera, Brian Eugenio. The Latina/o Theatre Commons 2013 National Convening: A Narrative Report. Boston: HowlRound, 2015.Google Scholar
Alker, Gwendolyn. “Fornesian Animality: María Irene Fornés’s Challenge to a Politics of Identity.” Journal of Dramatic Theory and Criticism 35.1 (Fall 2020), 928.10.1353/dtc.2020.0017CrossRefGoogle Scholar
Alker, Gwendolyn. “Teaching Fornes: Preserving Fornesian Techniques in Critical Context.” Theatre Topics 19.2 (September 2009), 207–19.Google Scholar
Herrera, Brian Eugenio. “The Dramatist’s Call To Action: The Provocative Prescience of James Baldwin and María Irene Fornés.” Theater 49.1 (February 2019), 7895.10.1215/01610775-7253795CrossRefGoogle Scholar
García-Romero, Anne. “Replicating Irene’s Room: Sustaining Fornesian Playwriting in the 21st Century.” Theatre Topics 31.2 (July 2021), 8798.10.1353/tt.2021.0024CrossRefGoogle Scholar
Herrera, Brian Eugenio. “The Dramatist’s Call To Action: The Provocative Prescience of James Baldwin and María Irene Fornés.” Theater 49.1 (February 2019), 7895.10.1215/01610775-7253795CrossRefGoogle Scholar
Herrington, Joan, and Brian, Crystal (eds.). Playwrights Teach Playwriting. Hanover, nh: Smith and Kraus, 2006.Google Scholar
Svich, Caridad. “The Legacy of Maria Irene Fornes: A Collection of Impressions and Exercises.” PAJ: A Journal of Performance and Art 31.3 (September 2009), 132.Google Scholar
Kondo, Dorinne. Worldmaking: Race, Performance, and the Work of Creativity. Durham, nc: Duke University Press, 2018.Google Scholar
Romero, Elaine, and García-Romero, Anne. “Expanding the Chair: A Conversation on Fornés’s Pedagogy in Action.” Theatre Topics 27.11 (March 2017), 8390.10.1353/tt.2017.0000CrossRefGoogle Scholar
Rossini, Jon D. Contemporary Latina/o Theatre: Wrighting Ethnicity. Carbondale: Southern Illinois University Press, 2008.Google Scholar
Assmann, Aleida. “Canon and Archive,” in Erll, Astrid and Nünning, Ansgar (eds.), A Companion to Cultural Memory Studies, pp. 97108. Berlin: DeGruyter, 2010.10.1515/9783110207262.2.97CrossRefGoogle Scholar
Renganathan, Mala. Understanding Maria Irene Fornes’ Theatre. Champaign, il: Common Ground, 2010.10.18848/978-1-86335-750-0/CGPCrossRefGoogle Scholar
Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, nc: Duke University Press, 2003.Google Scholar
“Ages of the Avant-Garde,” Performing Arts Journal 16.1 (January 1994), 9–57.Google Scholar
Carriger, Michelle Liu, and Laine, Eero. “‘Cultivating a Small Field’: On the Work of Citation in Theatre and Performance Studies Scholarship.” Theatre Topics 33.2 (July 2023), 8389.10.1353/tt.2023.a901200CrossRefGoogle Scholar
Marranca, Bonnie. Ecologies of Theater: Essays at the Century Turning. Baltimore, md: Johns Hopkins University Press, 1996.10.56021/9780801852725CrossRefGoogle Scholar
Marranca, Bonnie. Theatrewritings. New York: PAJ Publications, 1984.Google Scholar
Marranca, Bonnie. “Thinking about Maria Irene Fornés.” PAJ: A Journal of Performance and Art 41.1 (2019), 13.Google Scholar
Alker, Gwendolyn. “Recovering Evelyn Brown.” PAJ: A Journal of Performance and Art 46.1 (2024), 1425.Google Scholar
Grose, Joann. “An Icon of Avant-Garde.” Charlotte Observer, March 22, 2001, 3E.Google Scholar
Rosten, Bevya, with Levine, Anne-Marie, Stimpson, Catharine, Howard, Richard, Steiner, Wendy, Fornes, Maria Irene, Wellman, Mac, Carmines, Al, Foreman, Richard, Bernstein, Charles, and Bowers, Jane. “A Play to Be Performed: Excerpts from the Gertrude Stein Symposium at New York University.” Theater 32.2 (Summer 2002), 325.10.1215/01610775-32-2-3CrossRefGoogle Scholar
Stein, Gertrude. The Autobiography of Alice B. Toklas. New York: Vintage, 1960.Google Scholar
Souhami, Diana. Gertrude and Alice. London: Pandora, 1991.Google Scholar
Bergman, Daniel J.Prospective Teachers’ Perceptions of Influential Teacher Qualities.” The Advocate 23.6 (Summer 2018), 123.10.4148/2637-4552.1005CrossRefGoogle Scholar
Betsko, Kathleen, and Koenig, Rachel. “Maria Irene Fornes,” in Betsko, and Koenig, , Interviews with Contemporary Women Playwrights, pp. 154–67. New York: William Morrow, 1987.Google Scholar
Boffone, Trevor, with Marrero, Teresa and Rodriguez, Chantal (eds.). Encuentro: Latinx Performance for the New American Theatre. Evanston, il: Northwestern University Press, 2019.Google Scholar
Herrera, Brian Eugenio. The Latina/o Theatre Commons 2013 National Convening: A Narrative Report. Boston: HowlRound, 2015.Google Scholar
Alker, Gwendolyn. “Fornesian Animality: María Irene Fornés’s Challenge to a Politics of Identity.” Journal of Dramatic Theory and Criticism 35.1 (Fall 2020), 928.10.1353/dtc.2020.0017CrossRefGoogle Scholar
Alker, Gwendolyn. “Teaching Fornes: Preserving Fornesian Techniques in Critical Context.” Theatre Topics 19.2 (September 2009), 207–19.Google Scholar
Herrera, Brian Eugenio. “The Dramatist’s Call To Action: The Provocative Prescience of James Baldwin and María Irene Fornés.” Theater 49.1 (February 2019), 7895.10.1215/01610775-7253795CrossRefGoogle Scholar

Accessibility standard: WCAG 2.0 A

Why this information is here

This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.

Accessibility Information

The PDF of this book conforms to version 2.0 of the Web Content Accessibility Guidelines (WCAG), ensuring core accessibility principles are addressed and meets the basic (A) level of WCAG compliance, addressing essential accessibility barriers.

Content Navigation

Table of contents navigation
Allows you to navigate directly to chapters, sections, or non‐text items through a linked table of contents, reducing the need for extensive scrolling.
Index navigation
Provides an interactive index, letting you go straight to where a term or subject appears in the text without manual searching.

Reading Order & Textual Equivalents

Single logical reading order
You will encounter all content (including footnotes, captions, etc.) in a clear, sequential flow, making it easier to follow with assistive tools like screen readers.
Short alternative textual descriptions
You get concise descriptions (for images, charts, or media clips), ensuring you do not miss crucial information when visual or audio elements are not accessible.
Full alternative textual descriptions
You get more than just short alt text: you have comprehensive text equivalents, transcripts, captions, or audio descriptions for substantial non‐text content, which is especially helpful for complex visuals or multimedia.

Structural and Technical Features

ARIA roles provided
You gain clarity from ARIA (Accessible Rich Internet Applications) roles and attributes, as they help assistive technologies interpret how each part of the content functions.

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×