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Sruti Bala

performance may be a conscious or unconscious endorsement of Israeli government policies and actions, or how the decision of Cape Town Opera to perform in Tel Aviv Opera House may be a manifestation of complicity with a political regime they may not necessarily perceive themselves as having anything to do with. This context is undoubtedly connected to the complex performance history of Porgy and Bess, from its emergence in the racially segregated US, to its widespread rejection by the American civil rights movement, to its renewed politicization during the apartheid era in

in The gestures of participatory art
Sruti Bala

-songwriter partner Liliana Felipe from Mexico City, with whose input they completed the final version of the play Afuera (Cañénguez, 2015). Rodríguez and Felipe are known both for their lesbian-feminist performance activism and for their long-standing engagement with current political themes pertaining to the Latin American continent. The choice of working as a collective has a well-known heritage in Latin American experimental theatre and performance history. The tradition of autonomous theatre collectives (creación colectiva) is often traced to the influence of the new theatre

in The gestures of participatory art