Patricia Ybarra is the author of Performing Conquest: Five centuries of Theater, History and Identity in Tlaxcala, Mexico (Ann Arbor: University of Michigan, 2009) and co-editor with Lara Nielsen of Theater and Neoliberalism: Performance Permutations (Palgrave Macmillan, 2012). Her current manuscript in progress is Latino/a Theatre in the Time of Neoliberalism, which will be published in November 2017 by Northwestern University Press. She is President-Elect of the Association for Theatre in Higher Education. Her area of specialization is theatre historiography of the Americas, with emphasis on the relationship between theatre, nationalism, and American identities in North America. She is also a director, dramaturg and the former administrator of Richard Foreman's Ontological-Hysteric Theatre.
|Ybarra, Patricia Dancing the New World: Aztecs, Spaniards, and the Choreography of Conquest by Paul A. Scolieri. Hispanic Review. 2015; 83 (1) : 113-117.|
|Ybarra, Patricia Final Remarks. Theatre Topics. 2015; 25 (1) : 13-16.|
|Ybarra, Patricia Performance and the Global City. Edited by D. J. Hopkins and Kim Solga. New York: Palgrave Macmillan, 2013; pp. xiv + 277, 36 illustrations. $95 cloth, $85 e-book.. Theat Surv. 2014; 56 (01) : 122-124.|
|Ybarra, P. Performing Queer Latinidad: Dance, Sexuality, Politics. Ramon H. Rivera-Servera.. MELUS: Multi-Ethnic Literature of the United States. 2014; 39 (2) : 250-252.|
|Ybarra, Patricia Young Jean Lee’s Cruel Dramaturgy. Modern Drama. 2014; 57 (4) : 513-533.|
|Ybarra, P. * No Safe Spaces: Recasting Race, Ethnicity, and Nationality in the American Theater * Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith. American Literature. 2012; 84 (3) : 675-677.|
|Rossini, J. D., Ybarra, P. Neoliberalism, Historiography, Identity Politics: Toward a New Historiography of Latino Theater. Radical History Review. 2012; 2012 (112) : 162-172.|
|Ybarra, P. Gender and Allegory in Transamerican Fiction and Performance; Next of Kin: The Family in Chicano/a Cultural Politics. American Literature. 2010; 82 (4) : 851-853.|
|Ybarra, Patricia Querying Difference in Theatre History (review). Theatre History Studies. 2009; 29 (1) : 249-251.|
|Ybarra, P. Mexican Theater History and Its Discontents: Politics, Performance, and History in Mexico. Modern Language Quarterly. 2009; 70 (1) : 133-145.|
|Ybarra, Patricia The Lark Theatre's US-México Word Exchange. Latin American Theatre Review. 2009; 42 (2) : 199-204.|
|Ybarra, P. Embodied Histories. Theater. 2006; 36 (1) : 178-183.|
Research interests include theatre historiography, Mexican theatre and performance, Latino/a theatre and performance, avant garde theatre, critical race studies, dramaturgy and directing.
Neoliberalism and Global Theatres: Performance Permutations, co-edited with Lara Nielsen, (London: Palgrave Macmillan, 2012).
Performing Conquest: Five Centuries of Theatre, History and Identity in Tlaxcala, Mexico (Ann Arbor: University of Michigan Press, 2009).
Book Chapters and Refereed Articles
“Latino/a Dramaturgy as Historiography,” Time Space Matter: Theatre Historiography. Edited by Rosemarie Bank and Michal Kobialka. (Palgrave Macmillan, 2015..
“Young Jean Lee’s Cruel Dramaturgy. Modern Drama. 57.4 (Fall 2014) Forthcoming.
"Fighting for a Future in a Free Trade World" in Neoliberalism and Global Theatres: Performance Permutations, co-edited with Lara Nielsen, (Palgrave Macmillan, 2012): 113-127.
"Neoliberalism, Historiography, Identity Politics: Toward a New History of Latino Theatre," co-written with Jon Rossini, Radical History Review, Issue 112 (Winter 2012): 162-172.
“Performing History as Memorialization: Thinking with And Jesus Moonwalks the Mississippi and Brown University’s Slavery and Justice Committee,” in Scott Magelssen and Rhona Justice-Malloy, eds., Enacting History (Birmingham: University of Alabama Press, 2011): 113-133.
“Havana Isn’t Waiting: Staging Travel During Cuba’s Special Period,” In Ramon Rivera-Servera and Harvey Young, eds., Performance in the Borderlands (London: Palgrave MacMillan, 2010): 58-81.
“History Takes Time,” in Henry Bial and Scott Magelssen, eds.,Theatre Historiography: Critical Questions (Ann Arbor: University of Michigan Press, 2010).
“Mexican Theater History and Its Discontents: Politics, Performance and History in Mexico,” Modern Language Quarterly, 70.1 (March 2009): 133-145.
“The Revolution Fails Here: Cherríe Moraga’s The Hungry Woman as Mexican Medea,” Aztlan: A Journal of Chicano Studies, 33.1 (Spring 2008): 63-88.
“Archeological Performances in Tlaxcala, Mexico,” in Kiki Gounaridou, ed., Theatre and Nationalism (Jefferson, NC and London: McFarland Press, 2005), 186-210.
“The Whole Thing Is Over by Nine O’ Clock’: The Rude Mechs’ adaptation of Greil Marcus’ Lipstick Traces,” Journal of Dramatic Theory and Criticism, 19.2 (Spring 2005): 7-30.
“Re-imagining identity and Re-centering History in Tlaxcalan Performance,” Theatre Journal, 55.4 (December 2003): 633-655.
“Performing The Site of Complicity: A Re-evaluation of Fray Motolinia’s 1541 Account of the 1538 and 1539 Corpus Christi Festivals in Tlaxcala, Mexico,” Gestos 30, (November 2000): 31-49.
"Hebbel's Klara as Kierkegaard's Modern Antigone," Text and Presentation, (1999): 35-46.
|2002||PhD||University of Minnesota, Twin Cities|
|1999||MA||University of Minnesota, Twin Cities|
Cogut Humanities Center Fellowship, Fall 2006
Hall Center Grant for Excellence in Teaching, Spring 2003
Ford Foundation Dissertation Fellow, 2000-2001
American Society for Theatre Research
Association for Theatre in Higher Education
American Studies Association
Modern Language Association
Latin American Studies Association
|TAPS 1240 - Performance Historiography and Theatre History|
|TAPS 1470 - Embodied Stories: Land and Indigenous Performance|
|TAPS 1670 - Latino/a Theatre and Performance|
|TAPS 2200D - Issues in Critical Race Studies and Performance|
|TAPS 2200E - Historiography|