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 performancehistory 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
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 performancehistory.
The tradition of autonomous theatre collectives (creación colectiva) is
often traced to the influence of the new theatre