Patricia Ybarra Associate Professor of Theatre Arts and Performance Studies, Chair of Theatre Arts and Performance Studies

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 us under contract with 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.

Brown Affiliations

scholarly work



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.


research overview

Research interests include theatre historiography, Mexican theatre and performance, Latino/a theatre and performance, avant garde theatre, critical race studies, dramaturgy and directing. 

funded research

Cogut Humanities Fellowship, Brown University, Fall 2006
Undergraduate Teaching and Research Award, Brown University, Summer 2005, (3500)
New Faculty Research Grant Fund, Summers 2003-2004 (8000)
University of Minnesota Dissertation Fellow 2001-2002 (12,000)
Ford Foundation Dissertation Fellow, 2000-2001 (24,000)