The third volume in the anthology, featuring a wide range of plays that reimagine Shakespeare works from Borderlands perspectives.
For several decades, Chicanx and Indigenous theatermakers have been repurposing Shakespeare’s plays to reflect the histories and lived realities of the US–Mexico Borderlands and to create space to tell stories of and for La Frontera. Celebrating this rich tradition, the third volume of The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en La Frontera brings a wide range of Borderlands Shakespeare plays together for the first time in a multi-volume open-access scholarly edition. This anthology celebrates the dynamic, multilingual reworking of canon and place that defines Borderlands Shakespeare, and it situates these geographically and temporally diverse plays within the robust study of Shakespeare’s global afterlives.
The plays featured in this volume diverge drastically from Shakespeare, bringing elements of Hamlet, Henry IV, Part 1, Macbeth, and The Tempest into a range of subcultures that challenge dominant structures of power. In so doing, they remix and revise intersecting histories and traditions to heal colonial wounds and to call forth new worlds for fronterizos.
1. Introduction: Tracing the Traditions of Borderlands Shakespeare, by
Katherine Gillen, Adrianna M. Santos, and Kathryn Vomero Santos
2. I-DJ, by Gregg Barrios
3. El Henry, by Herbert Siguenza
4. Marqués: A Narco Macbeth, by Kepano Stephen Richter and Nick Andrade
5. Rough Magic, by Andrew Siañez-De La O
Katherine Gillen is associate professor of English at Texas A&M UniversitySan Antonio. She is the author of Chaste Value: Economic Crisis, Female Chastity, and the Production of Social Difference on Shakespeares Stage. Adrianna M. Santos is an assistant professor of English at Texas A&M UniversitySan Antonio, where she acts as co-coordinator of the Mexican American, Latinx, and Borderlands studies interdisciplinary minor. Kathryn Vomero Santos is assistant professor of English and codirector of the Humanities Collective at Trinity University. She currently serves as performance reviews editor for Shakespeare Bulletin.
