Reviewed by:

• Latinx Shakespeares: Staging U.S. Intracultural Theater by Carla Della Gatta
• Guillermo Avilés-Rodríguez

For too long, a decidedly multicultural Shakespearean analysis that foregrounds European and white ontologies has marked Latine adaptations, appropriations, and concept productions of Shakespeare plays. One of the most detrimental consequences of this ethnocentric analysis is the occlusion of the impact of Latine directors and their work on US theatre. To alleviate this obscuring, Carla Della Gatta offers Latinx Shakespeares: Staging U.S. Intracultural Theater, a text that frames Latine Shakespearean performance not as foreign, but as integral to the fabric of US theatre. The text refreshingly employs both Latine and Latin American theorists to examine over 140 Latine-themed productions staged in both large repertory and small community venues across the United States from the 1950s to the present. Through meticulous research, the text acknowledges, validates, and values the presence, influence, and contributions of Latine theatremakers in the [End Page 404] United States through ethnographic, archival, and textual analysis.

The text begins with an introduction to its central idea, defining it as "Latinx Shakespeares," or "textual adaptations or performances in which Shakespearean plays, stories, or characters are made Latinx" (1). Helpful to those wishing to understand more about the history of mobilizing Shakespearean performances in communities of color is the text's inclusion of the initiatives implemented by Joseph Papp and the New York Shakespeare Festival in the 1960s, including the Spanish Mobile Theater unit and the Festival Latino. Latinx Shakespeares focuses on adaptations both textual and performative that inject Shakespearean characters, plays, and stories with Latine-minded aesthetics, strategies, sounds, and techniques.

The first chapter, "Division: The West Side Story Effect," provides the text's most incisive intervention, which gives a name to "the staging of difference of any kind in Shakespeare" (29). The West Side Story effect is also developed in later chapters as it pertains to various Shakespearean adaptations. Ultimately, the chapter focuses on the way West Side Story's legacy has informed subsequent Shakespearean stagings inclusive of race and ethnicity throughout theatre history. It also features a fascinating section underscoring the fact that West Side Story's original conception had nothing to do with Latine culture, because the central conflict was to be between "(New York-based) Catholics and Jews at Easter/Passover" (31). In its entirety, this chapter problematizes the idea that Shakespeare and the Latine community cannot resonate.

Chapter 2 explores the complex concept of aurality and the even more difficult task of "hearing ethnicity" (79). With strong analysis of the 2005 adaptation of Romeo and Juliet at Florida State University and the 2011 Oregon Shakespeare Festival's production of Measure for Measure, Della Gatta illustrates how both productions exemplify "semi-bilingual theater." This chapter examines some ways that ethnicity arises from Latine Shakespeares' mobilization of sonic phenomenology, which includes bilingualism in English and Spanish. One specific type of bilingualism discussed in this chapter is code-switching, or the act of a speaker's shifting to a different language often due to a lack of mastery of one of the languages. For Della Gatta, "A focus on aurality extends Shakespeare studies' historical emphasis on rhetoric and poetry to other elements of the aural soundscape" and can also complicate the "heavy theorization of visual signifiers in the theater" (60). The author explains this approach by coining the term auralidad not as a direct translation of aurality, but to indicate elements that result from the interaction of Latine cultures with Shakespearean characters, texts, or stories. The chapter's approach to Latine theatre remains insightful, but Della Gatta's voice is overshadowed in parts, mainly because of the high frequency of citations. Nevertheless, the chapter is attuned to the fact that staging English plays in Spanish can both reify a colonial legacy and enable a modicum of linguistic justice where actors are empowered to express themselves in their language of choice.

In chapter 3, "Identity: Remapping Latinidades," Latinidad expands into the more capacious notion of Brownness that operates independently of "government-based parameters of race and ethnicity" (80...

 校订者：

• 
  拉丁裔莎士比亚：上演美国跨文化剧院 Carla Della Gatta
• 
  吉列尔莫·阿维莱斯-罗德里格斯

长期以来，一种明显的多元文化的莎士比亚分析突出了欧洲和白人本体论，这标志着拉丁对莎士比亚戏剧的改编、挪用和概念生产。这种种族中心主义分析最有害的后果之一是掩盖了拉丁裔导演及其作品对美国戏剧的影响。为了减轻这种模糊性，卡拉·德拉·加塔 （Carla Della Gatta） 提供了《拉丁裔莎士比亚：上演美国内部文化剧院》（Latinx Shakespeares： Staging U.S. Intracultural Theater），该文本将拉丁裔莎士比亚表演视为美国戏剧结构不可或缺的一部分，而不是外国的。该文本令人耳目一新地聘请了拉丁裔和拉丁美洲理论家来研究从 1950 年代至今在美国各地的大型剧目和小型社区场所上演的 140 多部拉丁主题作品。通过细致的研究，该文本通过人种学、档案和文本分析，承认、验证和重视拉丁裔戏剧制作人在 [End Page 404] 美国的存在、影响和贡献。

文本以对其中心思想的介绍开始，将其定义为“拉丁裔莎士比亚”，或“莎士比亚戏剧、故事或人物被塑造成拉丁裔的文本改编或表演”（1）。对于那些希望更多地了解在有色人种社区动员莎士比亚表演的历史的人来说，文本中包括了约瑟夫·帕普 （Joseph Papp） 和纽约莎士比亚艺术节在 1960 年代实施的举措，包括西班牙移动剧院单位和拉丁艺术节。拉丁裔莎士比亚专注于文本和表演的改编，为莎士比亚角色、戏剧和故事注入拉丁裔思维的美学、策略、声音和技巧。

第一章“分裂：西区故事效应”提供了文本中最精辟的干预，它为“莎士比亚中任何形式的差异的上演”命名了（29）。西区故事效果也在后面的章节中得到发展，因为它与各种莎士比亚改编有关。最终，本章重点介绍了《西区故事》的遗产如何为后来的莎士比亚舞台提供信息，包括整个戏剧史上的种族和民族。它还有一个引人入胜的部分，强调了一个事实，即《西区故事》的最初构想与拉丁文化无关，因为核心冲突是在复活节/逾越节“（31 页）的”（纽约的）天主教徒和犹太人之间。总的来说，本章对莎士比亚和拉丁裔社区无法产生共鸣的观点提出了问题。

第 2 章探讨了听觉的复杂概念和更困难的“听觉种族”任务 （79）。通过对佛罗里达州立大学 2005 年改编的《罗密欧与朱丽叶》和 2011 年俄勒冈莎士比亚戏剧节制作的 Measure for Measure 的有力分析，Della Gatta 说明了这两部作品如何体现“半双语戏剧”。本章研究了拉丁莎士比亚对声音现象学的动员，包括英语和西班牙语的双语，从而产生了种族性的一些方式。本章讨论的一种特定类型的双语是代码转换，或者说话者通常由于缺乏对其中一种语言的掌握而切换到另一种语言的行为。对德拉·加塔来说，“对听觉的关注将莎士比亚研究对修辞和诗歌的历史强调扩展到听觉声景的其他元素”，也可能使“剧院中视觉能指的沉重理论化”复杂化（60）。作者通过创造 auralidad 一词来解释这种方法，而不是作为 aurality 的直接翻译，而是表示拉丁文化与莎士比亚人物、文本或故事互动产生的元素。本章对拉丁戏剧的处理方式仍然很有见地，但 Della Gatta 的声音在某些部分被掩盖了，主要是因为引用的频率很高。尽管如此，本章还是考虑到这样一个事实，即用西班牙语上演英语戏剧既可以具体化殖民遗产，又可以实现一点语言正义，让演员有权用他们选择的语言表达自己。

在第 3 章“身份：重新映射拉丁裔”中，拉丁裔扩展到更宽泛的棕色人种概念，该概念独立于“基于政府的种族和民族参数”（80...