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Further Reading

Published online by Cambridge University Press:  27 August 2025

Edited by
Brian Eugenio Herrera  and
Anne García-Romero
Brian Eugenio Herrera
Affiliation:
Princeton University, New Jersey
Anne García-Romero
Affiliation:
University of Notre Dame, Indiana
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María Irene Fornés In Context , pp. 357 - 366
Publisher: Cambridge University Press
Print publication year: 2025

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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
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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
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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. 51–69. 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), 62–96.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), 1–32.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), 187–204.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), 34–39.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. 33–56. 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. 51–69. 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), 62–96.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), 1–32.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), 187–204.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), 34–39.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. 33–56. 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), 59–733.Google Scholar
Marranca, Bonnie. “The Real Life of Maria Irene Fornes.” Performing Arts Journal 8.1 (1984), 6–8.10.2307/3245402CrossRefGoogle 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
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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), 25–40.10.2307/1145134CrossRefGoogle Scholar
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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), 23–48.10.2979/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), 45–71.Google Scholar
Conkie, Rob. “Sudoku Shakespeare,” in Conkie, Writing Performative Shakespeares: New Forms for Performance Criticism, pp. 49–68. 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
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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), 59–733.Google Scholar
Marranca, Bonnie. “The Real Life of Maria Irene Fornes.” Performing Arts Journal 8.1 (1984), 6–8.10.2307/3245402CrossRefGoogle 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), 25–40.10.2307/1145134CrossRefGoogle 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), 23–48.10.2979/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), 45–71.Google Scholar
Conkie, Rob. “Sudoku Shakespeare,” in Conkie, Writing Performative Shakespeares: New Forms for Performance Criticism, pp. 49–68. 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
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