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El teatro del peruano Víctor Zavala Cataño (Huamantanga, 1932) ofrece una propuesta de reivindicación del campesinado peruano sostenida por una lectura marxista de la realidad andina. A través del análisis de las piezas de su seminal volumen Teatro Campesino (1969) y del posterior Teatro popular I (1984), esta contribución indaga en los rasgos ideológicos y artísticos de estos textos. En este sentido, destaca, por un lado, la representación del campesino indígena como un sujeto político autónomo, dispuesto a reaccionar revolucionariamente ante los causantes de su opresión. Por otro lado, la labor de Zavala como aclimatador de las enseñanzas de Bertolt Brecht al contexto de los Andes peruanos para elaborar así su discurso artístico y político. De este modo, sus creaciones se engarzan con la tradición literaria indigenista peruana, articulándose principalmente a través del teatro. La relevancia que el campesino indígena obtiene en las obras de Zavala rompe con el pasado, al tiempo que conecta con una vereda que en los años siguientes transitarían otros autores y grupos teatrales con profusión. ; The dramatic work of Peruvian playwright Víctor Zavala Cataño (Huamantanga, 1932) provides a proposal of vindication of Peruvian peasantry based on a Marxist reading of the Andean reality. Through the analysis of his transcendental volume Teatro Campesino (1969) and the later Teatro popular I (1984) this contribution traces the ideological and artistic traits of these texts. In this sense, two different aspects should be pointed out: on the one hand, the portrait of the indigenous peasant as an autonomous political subject, who is willing to react against the source of his and her oppression in a revolutionary way. On the other hand, it highlights Zavala's efforts to adapt Bertolt Brecht's teachings to the Peruvian context to build his political and artistic discourses. Therefore, his plays are a link with previous indigenista Peruvian literary tradition, using mainly the dramatic work. The importance given to the indigenous peasant in Zavala's work happens to be a breakthrough in the Peruvian theatrical tradition, and takes a path that many authors and theatrical groups will thoroughly follow in the years to come. ; Ministerio de Economía y Competitividad, Secretaría de Estado de Investigación, Desarrollo e Innovación, España HAR2013-41596-P, 2014-2016

[EN] The dramatic work of Peruvian playwright Víctor Zavala Cataño (Huamantanga, 1932) provides a proposal of vindication of Peruvian peasantry based on a Marxist reading of the Andean reality. Through the analysis of his transcendental volume Teatro Campesino (1969) and the later Teatro popular I (1984) this contribution traces the ideological and artistic traits of these texts. In this sense, two different aspects should be pointed out: on the one hand, the portrait of the indigenous peasant as an autonomous political subject, who is willing to react against the source of his and her oppression in a revolutionary way. On the other hand, it highlights Zavala's efforts to adapt Bertolt Brecht's teachings to the Peruvian context to build his political and artistic discourses. Therefore, his plays are a link with previous indigenista Peruvian literary tradition, using mainly the dramatic work. The importance given to the indigenous peasant in Zavala's work happens to be a breakthrough in the Peruvian theatrical tradition, and takes a path that many authors and theatrical groups will thoroughly follow in the years to come ; [PO] O teatro do peruano Víctor Zavala Cataño (Huamantanga, 1932) oferece uma proposta de reivindicação do campesinato peruano sustentada por uma leitura marxista da realidade andina. Através da análise das peças do seu volume seminal Teatro campesino (1969) e do posterior Teatro popular I (1984), esta contribuição indaga nos traços ideológicos e artísticos destes textos. Neste sentido destaca, de um lado, a representação do camponês indígena como sujeito político autónomo, disposto a reagir de um modo revolucionário aos opressores. De outro, o trabalho de Zavala como aclimatador dos ensinamentos de Bertolt Brecht ao contexto dos Andes peruanos para assim elaborar seu discurso artístico e político. Deste modo, suas criações se inserem na tradição literária indigenista peruana, mas contam com a particularidade de se articular principalmente através do teatro. A relevância que o camponês indígena ...

The dramatic work of Peruvian playwright Víctor Zavala Cataño (Huamantanga, 1932) provides a proposal of vindication of Peruvian peasantry based on a Marxist reading of the Andean reality. Through the analysis of his transcendental volume Teatro Campesino (1969) and the later Teatro popular I (1984) this contribution traces the ideological and artistic traits of these texts. In this sense, two different aspects should be pointed out: on the one hand, the portrait of the indigenous peasant as an autonomous political subject, who is willing to react against the source of his and her oppression in a revolutionary way. On the other hand, it highlights Zavala's efforts to adapt Bertolt Brecht's teachings to the Peruvian context to build his political and artistic discourses. Therefore, his plays are a link with previous indigenista Peruvian literary tradition, using mainly the dramatic work. The importance given to the indigenous peasant in Zavala's work happens to be a breakthrough in the Peruvian theatrical tradition, and takes a path that many authors and theatrical groups will thoroughly follow in the years to come. ; El teatro del peruano Víctor Zavala Cataño (Huamantanga, 1932) ofrece una propuesta de reivindicación del campesinado peruano sostenida por una lectura marxista de la realidad andina. A través del análisis de las piezas de su seminal volumen Teatro Campesino (1969) y del posterior Teatro popular I (1984), esta contribución indaga en los rasgos ideológicos y artísticos de estos textos. En este sentido, destaca, por un lado, la representación del campesino indígena como un sujeto político autónomo, dispuesto a reaccionar revolucionariamente ante los causantes de su opresión. Por otro lado, la labor de Zavala como aclimatador de las enseñanzas de Bertolt Brecht al contexto de los Andes peruanos para elaborar así su discurso artístico y político. De este modo, sus creaciones se engarzan con la tradición literaria indigenista peruana, articulándose principalmente a través del teatro. La relevancia que el ...

In recent years, Latin American women have begun to appropriate and fill a space once empty of their presence. This essay looks at the work of four such women, (Diana Raznovich and Cristina Escofet of Argentina, Raquel Araujo of Mexico and the Peruvian Sara Joffre), to see how they give substance and voice to their particular concerns. In the process, this essay focusses on: 1) the notion of gender as performance; 2) the feminist deconstruction of narrative; 3) the female body in theatrical space; and 4) new, postmodern ways of doing feminist political theatre.

Summary: In this article, we intend to investigate some aspects of Manuel González Prada's anarchist ideology, analysing his prosa articles, published in the Peruvian liberal press of the first decade of the 20th century. In the centenary of his death, it is important to be able to answer two questions, which are indeed one. What did González Prada have to tell him the workers who read or otherwise arrived in the press? What ideas did you receive from him at this stage of Peruvian anarchy? ; Resumen: En el presente artículo nos proponemos indagar sobre algunos aspectos de la ideología anarquista de Manuel González Prada, analizando sus artículos en prosa, publicados en la prensa libertaria peruana de la primera década del siglo XX. En el centenario de su muerte, es importante poder responder dos preguntas, que son en verdad una. ¿Qué tenía González Prada para decirle a los trabajadores que leían o a los que les llegaba de otras maneras esa prensa? ¿Qué ideas recibieron de él en esta etapa formativa del anarquismo peruano?

In this article, I apply performance theory and analysis to the examination of a performative community-based water governance system in the Peruvian Andes. I weave together performance studies and natural resource governance practice through Jacques Derrida's concept of iterability – the inherent capacity of an iteration to be deciphered and re-iterated beyond its immediate, present context. I ask what idea and what practice of natural resource governance are enabled through the performative iterations of a rural community's ancient ritualised relationship with water. I focus my analysis on the town of Corongo, in Northern Peru, and its water management system, whose heritage status was globally recognised through its inclusion on UNESCO's 2017 Representative List of Intangible Heritage of Humanity. This analysis leads me to a wider consideration of some of the types of contributions that performance studies can make to environmental political theory and environmental policy making as well as to political and critical discussions about how to transition towards more environmentally sustainable societies. I argue that ritual performance is the language with which Coronguinos (people from Corongo) carry out water governance at a local level and the means by which they produce and transfer a consciousness of themselves as a water heritage community. Performance operates in Corongo by means of an ancient chain of restored behaviours, structuring Coronguinos' lived relationship with their natural environment as well as shaping their awareness of the key role that embodied, performative water governance plays in the definition of their cultural identity and heritage.

In the theatre scene of the 1930s in Spain, in addition to the traditional commercial theatre and the republican avant-garde of Las Misiones Pedagógicas or La Barraca, an alternative proposal emerged whose objectives went beyond the pedagogical and the artistic. Proletarian, or political theatre, linked to European theatrical avant-garde with Soviet roots, was inspired by the principles of Bertolt Brecht and Erwin Piscator. They proposed, from a Marxist perspective, class struggle as means to achieve an alternative socialist model. The theatre company Nosotros, directed by Peruvian exile César Falcón, is the best example of this theatrical avant-garde. ; En la escena teatral de los años treinta en España, además del tradicional teatro comercial y la vanguardia republicana de Las Misiones Pedagógicas o La Barraca, surgió una propuesta alternativa cuyos objetivos fueron más allá de lo pedagógico y lo artístico. El teatro proletario, o político, heredero de la vanguardia teatral europea de raíz soviética, se inspiró en los principios de Bertold Brecht y Edwin Piscator que proponían, desde una óptica marxista, la lucha de clases que permitiese alcanzar un modelo alternativo socialista. La compañía teatral Nosotros, dirigida por el exiliado peruano César Falcón, es el mejor ejemplo de esta vanguardia teatral.

ResumenEste artículo sostiene la vigencia de Palma hoy así como la de GonzálezPrada; ambos representan dos momentos de la conciencia crítica del Perú.Mariátegui y Haya de la Torre los reivindican. Lima crea el escenario en elque crecerá Palma marcando sus influencias. Palma es un peruano ejemplarque hace universal lo local desarrollándose no solo en el campo delas tradiciones, narrativa, poesía, periodismo, teatro, sino también en elcampo político habiendo sido deportado varias veces.Palabras clave: globalización, localización, conciencia crítica del Perú,Lima. Abstract:This article sustains the importance of Palma today as well as that of GonzálezPrada, both representing two moments of the critical conscience of Peru; Mariáteguiand Haya de la Torre vindicate them. Lima creates the stage in which Palmawill develop, marking its influences. Palma is an outstanding Peruvian who universalizeswhat is local, developing not only in the field of traditions, narrative,poetry, journalism, and theatre but also in the political field, having been deportedseveral times.Keywords: Globalization, localization, critical awareness of Peru, Lima ; This article sustains the importance of Palma today as well as that of GonzálezPrada, both representing two moments of the critical conscience of Peru; Mariáteguiand Haya de la Torre vindicate them. Lima creates the stage in which Palmawill develop, marking its influences. Palma is an outstanding Peruvian who universalizeswhat is local, developing not only in the field of traditions, narrative,poetry, journalism, and theatre but also in the political field, having been deportedseveral times.

Across spatial, bodily, and ethical domains, music and dance both emerge from and give rise to intimate collaboration. This theoretically rich collection takes an ethnographic approach to understanding the collective dimension of sound and movement in everyday life, drawing on genres and practices in contexts as diverse as Japanese shakuhachi playing, Peruvian huayno, and the Greek goth scene. Highlighting the sheer physicality of the ethnographic encounter, as well as the forms of sociality that gradually emerge between self and other, each contribution demonstrates how dance and music open up pathways and give shape to life trajectories that are neither predetermined nor teleological, but generative

These two events asked to what extent can art affect change when addressing issues of migration, displacement, and access - a public discussion exploring the capacity of artists and arts institutions to intervene in the current geopolitical climate. They were preceded by a screening of French-Moroccan artist Bouchra Khalili's 'The Tempest Society' and the launch of the artist's book by the same name, in a partnership between the RCA, The Showroom and Book Works. The Tempest Society revisits 'Al Assifa', a politicised theatre group born out of the struggles of the Mouvement des Travailleurs Arabes (MTA), Palestine, anti-colonialism, and workers' and immigrant labour rights. The programme of screenings, presentations and debate that followed took place just twenty-four days before the UK was due to leave the UK on 31 March 2019. Curated by Elvira Dyangani Ose, director of The Showroom, with Michaela Crimmin, Reader in art and conflict at the RCA, they were held in partnership with Tate Britain. Gurminder Bhambra, professor of postcolonial and decolonial studies at the University of Sussex, gave the opening keynote addressing the inter-related subjects of national sovereignty, immigration laws, empire, racism, and dispossession. The artists and curators who followed included Kathrin Böhm, who talked about the artist-run pro-Remain campaign 'Keep it complex – make it clear!'; Austrian artist Oliver Ressler who described projects which challenge racism and power structures; and Peruvian, Barcelona-based artist Daniela Ortiz, who took issue with the violence of migration and integration politics. There is a 35-minute video of extracts from the events, together with videos of a number of the presentations. The Royal College of Art is a partner in a four-year research programme, which includes these events, under the title '4Cs: from Conflict to Conviviality through Creativity and Culture'. This is a European Cooperation project co-funded by Creative Europe. https://4cs-conflict-conviviality.eu

International audience The present study will focus on varied correspondences while comparing and contrasting the fluidity of Whitman's verse in his Leaves of Grass (1855)—leading up to his Civil War section Drum-Taps (1865)—with the posthumous poems of César Vallejo; focusing on his collection España, aparta de mi éste cáliz (Spain, take this chalice from me, 1939), as seen through the chronological filter of the late symbolist movement propelled by Mallarmé, whose motifs were succinctly appropriated by the Peruvian to deploy his poetics of "cross-outs", as suggested by vallejista Julio Ortega. A background of political reportage presented by both Vallejo and Whitman will emphasize their connection through militance in their respective Civil War years, as this stage will be taken conclusively into account to point out the unwavering admiration the Andean poet held for his North American counterpart. ; Cette étude portera sur les correspondances variées, en comparant et contrastant la fluidité de la poétique whitmanien dans Feuilles d'herbe (1855)—qui nous mène vers la section de la Guerre Civile, Drum-Taps (1865)—avec les poèmes posthumes de César Vallejo; en se concentrant sur sa collection España, aparta de mi este cáliz (Espagne, éloigne de moi ce calice, 1939) considérés à travers le filtre chronologique du courant symbolique propulsé par Stéphane Mallarmé, dont les motifs étaient appropriés succinctement par l'écrivain péruvien en vue de déployer une poétique de « ratures », comme le suggère le vallejista Julio Ortega. Le contexte du reportage politique présenté par Vallejo et par Whitman emphatisera leur connexion à travers la militance pendant leurs respectives années de guerre civile, puisque c'est à ce stade qu'on pourra prendre en compte et mettre l'accent sur l'admiration du poète des Andes par rapport à sa contrepartie nord-américaine. ; El presente estudio explorará las variadas correspondencias mientras se compara y contrasta la fluidez del verso whitmaniano en su colección Hojas de Hierba ...

Books reviewed: Colonisation and conquest in medieval Ireland: the English in Louth, 1170‐1330, Marie Therese Flanagan The household knights of King John, Peter Coss Thirteenth‐century England, VII: proceedings of the Durham conference 1997, Brendan Smith Hertfordshire lay subsidy rolls: 1307 and 1334, Phillipp R. Schofield The great household in late medieval England, Anne Curry The lay subsidy for Shropshire, 1524‐7, John S. Moore Theatre, finance and society in early modern England, Craig Muldrew British identities before nationalism: ethnicity and nationhood in the Atlantic world, 1600‐1800, D. W. Hayton History of work and labour relations in the royal dockyards, Chris Wrigley Gentlemanly capitalism and British imperialism: the new debate on empire, Simon C. Smith Irish migrants in modern Britain, 1750‐1922, Graham Davis Land reform and working‐class experience in Britain and the United States, 1800‐1862, Rohan McWilliam Black '47 and beyond: the Great Irish Famine in history, economy and memory, Philip Ollerensha The hungry stream: essays on emigration and famine, Patrick O'Sullivan Crimes of outrage: sex, violence and Victorian working women, Megan Doolittle The problem of mental deficiency: eugenics, democracy, and social policy in Britain, c. 1870‐1959, Joseph Melling Phoenix Assurance and the development of British insurance, II: the era of the insurance giants, 1870‐1984, Edwin Green Capitalism, community and conflict: the south Wales coalfield, 1898‐ 1947, Sian Rhiannon williams 'Millions like us'?: British culture in the Second World War, Dave Russell Anticipating total war: the German and American experiences, 1871‐1914, Robin Clifton Fifty years of the Deutsche Mark: central bank and the currency in Germany since 1948, Catherine R. Schenk The Venetian money market: banks, panics, and the public debt, 1200‐1500, David Abulafia Guilds, markets and work regulations in Italy, 16th‐19th centuries, Iorwerth Prothero The economy and material culture of Russia, 1600‐1725, Jeremy Black Food and eating in medieval Europe, Jane Whittle Art markets in Europe, 1400‐1800, Malcolm Falkus Shaping history: ordinary people in European politics, 1500‐1700, Dagmar Freist Cathedrals of consumption: the Euro‐pean department store, 1850‐1939, Michael Miller Technological revolutions in Europe: historical perspectives, Gillian Cookson Contagion and the state in Europe, 1830‐1930, Roger Davidson Merchants, companies and trade: Europe and Asia in the early modern era, H. V. Bowen Consumers against capitalism? Consumer cooperation in Europe, North America, and Japan, 1840‐1990, Sean O'Connell Getting and spending: European and American consumer societies in the twentieth century, Gareth Shaw Eastside landmark: a history of the East Los Angeles Community Union, 1968‐1993, Marci R. Green The Atlantic slave trade, Madge Dresser Montpelier, Jamaica: a plantation community in slavery and freedom, 1739‐1912, J. R. Oldfield Searching for a better society: the Peruvian economy from 1950, Paulo Drinot An agrarian history of south Asia (The new Cambridge history of India, IV: 4), David Arnold Development planning in India: exploring an alternative approach, Terence J. Byres The premodern Chinese economy: structural equilibrium and capitalist sterility, David W. Clayton Tigers, rice, silk, and silt: environment and economy in late imperial south China, Philip Richardson Technology and gender: fabrics of power in late imperial China, David W. Clayton Mercantilism in a Japanese domain: the merchant origins of economic nationalism in eighteenth‐century Tosa, John F. Wilson Japan and Singapore in the world economy: Japan's economic advance into Singapore, 1870‐1965, Nicholas J. White Africa works: disorder as political instrumentdouglas rimmer The wealth of nations, John Glassford Adam Smith's daughters: eight prominent women economists from the eighteenth century to the present, Jane Howells The foundations of laissez‐faire: the economics of Pierre de Boisguilbert, A. W. Bob Coats Secret origins of modern micro‐economics: Dupuit and the engineers, Richard Whatmore The state, the financial system and economic modernization, Duncan M. Ross Fabricating the Keynesian revolution: studies of the inter‐war literature on money, the cycle and unemployment, Roger Middleton The city in time and space, Helen Meller The theory of innovation: entrepreneurs, technology and strategy, G. N. von Tunzelman