Reviewed by:

• Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta
• Dennis Sloan

In Shakespeare and Latinidad, editors Trevor Boffone and Carla Della Gatta join twenty-three additional contributors to highlight the underexamined relationship between Shakespeare and Latine theatre. Building on Della Gatta’s earlier work on the subject, which itself extends Bernice Kilman and Rick J. Santos’s research on Latin American Shakespeares, this volume argues that studies of Latine theatre and the production of Shakespeare in the United States are inextricably intertwined. Citing the growing number of artists and productions that adapt or reimagine the Shakespearean canon using Latine methods and perspectives, Boffone and Della Gatta contend that any discussion of either is incomplete without consideration of the other.

Boffone and Della Gatta structure Shakespeare and Latinidad in an introduction followed by four parts, each of which features four to six essays of varying lengths and methodologies. While some pieces, including Katherine Gillen and Adrianna M. Santos’s “The Power of Borderlands Shakespeare: Seres Jaime Magaña’s The Tragic Corrido of Romeo and Lupe,” offer heavily sourced theoretical explorations, others, such as Migdalia Cruz’s “What I Learned from My Shakespeare Staycation with Macbeth and Richard III,” provide richly personal accounts of the authors’ individual production experiences. This combination is one of the book’s strengths, even if the editors’ delineation between “scholars” and “artists” seems somewhat outdated.

Gillen and Santos’s essay appears in part 1, “Shakespeare in the US Latinx Borderlands.” This section explores how Latine artists use the US-Mexico border, as well as borders between languages, cultures, and genres, to challenge Anglo ownership of Shakespeare’s works in ways that trouble broader colonial and hegemonic structures and make space for diverse epistemologies. In “Passion’s Slave: Reminiscences on Latinx Shakespeares in Performance,” Frankie J. Alvarez recounts his experiences as a Latine actor performing in Shakespeare’s Measure for Measure and in a bilingual production of Nilo Cruz’s Hamlet: Prince of Cuba. In “¡O Romeo! Shakespeare on the Altar of Día de los Muertos,” Olga Sanchez Salt-veit describes the process of devising and directing a production for a two-year Shakespeare celebration in Portland, Oregon. Faced with combining the celebration’s goals with Milagro Theatre’s commitment to showcasing Latine playwrights, Sanchez Saltveit brought together disparate characters from across the Shakespearean canon to both demonstrate and critique colonial influences on Shakespeare’s works as well as contemporary celebrations of a syncretized Spanish and Indigenous holiday.

Part 2, “Making Shakespeare Latinx,” extends part 1’s focus on the ways in which Latine artists adapt, reimagine, and reconfigure Shakespeare’s plays—a theme that remains prevalent, in fact, throughout the volume. In separate essays (“In a Shakespearean Key” and “Caliban’s Island: Gender, Queerness and Latinidad in Theatre for Young Audiences,” respectively), Caridad Svich and Diana Burbano describe how early experiences with Shakespeare influenced their own later works. Svich traces her relationship with Shakespeare from a fourth-grade encounter with A Midsummer Night’s Dream to her queering of Hamlet in 12 Ophelias, while Burbano details using her classical training and love of Shakespeare’s language to write Caliban’s Island as a TYA play when acting roles in professional productions of the Bard’s work proved unavailable to a Latina.

In one of a handful of “diálogos” spread throughout the book, Della Gatta facilitates a conversation between Henry Godinez and José Luis Valenzuela about their early encounters with Shakespeare as well as their conflicting feelings on adaptation. Authors in this section also explore the fraught encounters Latine students and actors can often have with Shakespearean language. In “La Voz de Shakespeare: Empowering Latinx Communities to Speak, Own, and Embody the Text,” vocal coach and director Cynthia Santos DeCure rejects any notion of a unified, “correct” way of speaking Shakespeare and advocates instead for Latine actors to take simultaneous ownership of both Shakespeare’s language and their own accents, rhythms, and voices. [End Page 249]

Part 3, “Shakespeare in Latinx Classrooms and Communities,” continues the theme of early experiences to focus on...

 审阅者：

• 
  莎士比亚和拉丁尼达编辑。作者：特雷弗·博丰和卡拉·德拉·加塔
•  丹尼斯·斯隆

在《莎士比亚与拉丁戏剧》中，编辑 Trevor Boffone 和 Carla Della Gatta 与另外 23 位撰稿人一起强调了莎士比亚与拉丁戏剧之间未被充分审视的关系。德拉·加塔（Della Gatta）早期关于该主题的研究本身延伸了伯尼斯·基尔曼（Bernice Kilman）和里克·J·桑托斯（Rick J. Santos）对拉丁美洲莎士比亚的研究，本书认为，对拉丁戏剧的研究与美国莎士比亚的创作是密不可分的。博冯和德拉加塔引用越来越多的艺术家和作品使用拉丁方法和视角改编或重新想象莎士比亚经典的说法，认为如果不考虑对方，任何对其中任何一个的讨论都是不完整的。

博冯和德拉加塔在引言中构建了莎士比亚和拉丁尼达，然后是四个部分，每个部分都有四到六篇不同长度和方法的文章。虽然凯瑟琳·吉伦 (Katherine Gillen) 和阿德里安娜·M·桑托斯 (Adrianna M. Santos) 的《无主之地莎士比亚的力量：塞雷斯·海梅·马加尼亚 (Seres Jaime Magaña) 的《罗密欧与卢佩的悲剧走廊》》(The Power of Borderlands Shakespeare: Seres Jaime Magaña's The Tragic Corrido of Romeo and Lupe) 等作品提供了丰富的理论探索，但其他作品，如米格达莉亚·克鲁兹 (Migdalia Cruz) 的《我从莎士比亚中学到的东西》与麦克白和理查三世一起度假》提供了作者个人制作经历的丰富个人描述。这种结合是本书的优势之一，尽管编辑对“学者”和“艺术家”的划分似乎有些过时。

吉伦和桑托斯的文章出现在第 1 部分“美国拉丁边境的莎士比亚”。本节探讨拉丁艺术家如何利用美墨边境以及语言、文化和流派之间的边界，挑战盎格鲁人对莎士比亚作品的所有权，从而困扰更广泛的殖民和霸权结构，并为不同的认识论腾出空间。在《激情的奴隶：拉丁莎士比亚表演回忆录》中，弗兰基·J·阿尔瓦雷斯讲述了他作为拉丁演员在莎士比亚的《一报还一报》和尼洛·克鲁兹的双语作品《哈姆雷特：古巴王子》中表演的经历。在《哦，罗密欧！ 《亡灵节祭坛上的莎士比亚》，奥尔加·桑切斯·索尔特-维特描述了为俄勒冈州波特兰市为期两年的莎士比亚庆祝活动设计和导演制作的过程。面对将庆祝活动的目标与米拉格罗剧院致力于展示拉丁剧作家的承诺结合起来，桑切斯·萨尔维特汇集了莎士比亚经典中不同的人物，展示和批评殖民时期对莎士比亚作品的影响，以及西班牙和土著节日融合的当代庆祝活动。

第二部分“莎士比亚的拉丁化”延伸了第一部分对拉丁艺术家改编、重新想象和重新配置莎士比亚戏剧的方式的关注——事实上，这个主题在整本书中仍然普遍存在。卡里达·斯维奇（Caridad Svich）和戴安娜·布尔巴诺（Diana Burbano）在单独的文章（分别为《莎士比亚的钥匙》和《卡利班的岛：年轻观众戏剧中的性别、酷儿和拉丁裔》）中描述了莎士比亚的早期经历如何影响了他们后来的作品。斯维奇追溯了她与莎士比亚的关系，从四年级的《仲夏夜之梦》到她在《十二奥菲利亚斯》中对哈姆雷特的酷爱，而布尔巴诺则详细介绍了她在《十二奥菲利亚斯》中的角色，利用她的古典训练和对莎士比亚语言的热爱，将《卡利班岛》写成一部 TYA 戏剧。事实证明拉丁裔无法获得这位吟游诗人作品的专业制作。

在全书中散布的少数“对话”之一中，德拉·加塔促成了亨利·戈迪内斯和何塞·路易斯·巴伦苏埃拉之间的对话，讲述了他们与莎士比亚的早期接触以及他们对改编的矛盾感受。本节的作者还探讨了拉丁学生和演员与莎士比亚语言经常发生的令人担忧的遭遇。在《莎士比亚之声：赋予拉丁裔社区说话、拥有和体现文本》一文中，声乐教练兼导演辛西娅·桑托斯·德库尔拒绝任何统一、“正确”的莎士比亚讲述方式，并提倡拉丁演员采用同时拥有莎士比亚的语言和他们自己的口音、节奏和声音。 [完第249页]

第三部分“拉丁裔课堂和社区中的莎士比亚”延续了早期经历的主题，重点关注……