Author Noe Montez considers how theatre, as a site of activism, produces memory narratives that change public reception to a government’s transitional justice policies. Drawing on contemporary research in memory studies and transitional justice, Montez examines the Argentine theatre’s responses to the country’s transitional justice policies—truth and reconciliation hearings, trials, amnesties and pardons, and memorial events and spaces—that have taken place in the last decade of the twentieth century and the first two decades of the twenty-first century.
 
Montez explores how the sociohistorical phenomenon of the Teatroxlaidentidad—an annual showcase staged with the support of Argentina’s Grandmothers of the Plaza de Mayo—acted as a vehicle for drawing attention to the hundreds of children kidnapped from their families during the dictatorship and looks at why the memory narratives regarding the Malvinas Islands (also known as the Falklands) range from ideological appropriations of the islands, to absurdist commentaries about the failed war that signaled the dictatorship’s end, to the islands’ heavily contested status today.
 
Memory, Transitional Justice, and Theatre in Postdictatorship Argentina explores the vibrant role of theatrical engagement in postdictatorship Argentina, analyzes plays by artists long neglected in English-language articles and books, and explores the practicalities of staging performances in Latin America.
 

Theatre History Studies (THS) is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference
 
THEATRE HISTORY STUDIES, VOLUME 37
 
STEFAN AQUILINA
Meyerhold and The Revolution: A Reading through Henri Lefebvre’s Theories on “Everyday Life”
 
VIVIAN APPLER
“Shuffled Together under the Name of a Farce”: Finding Nature in Aphra Behn’s The Emperor of the Moon
 
KRISTI GOOD
Kate Soffel’s Life of Crime: A Gendered Journey from Warden’s Wife to Criminal Actress
 
PETER A. CAMPBELL
Staging Ajax’s Suicide: A Historiography
 
BRIAN E. G. COOK
Rousing Experiences: Theatre, Politics, and Change
 
MEGAN LEWIS
Until You See the Whites of Their Eyes: Brett Bailey’s Exhibit B and the Consequences of Staging the Colonial Gaze
 
PATRICIA GABORIK
Taking the Theatre to the People: Performance Sponsorship and Regulation in Mussolini’s Italy
 
ILINCA TODORUT AND ANTHONY SORGE
To Image and to Imagine: Walid Raad, Rabih Mouré, and the Arab Spring
 
SHULAMITH LEV-ALADGEM
Where Has the Political Theatre in Israel Gone? Rethinking the Concept of Political Theatre Today
 
CHRISTINE WOODWORTH
“Equal Rights By All Means!”: Beatrice Forbes-Robertson’s 1910 Suffrage Matinee and the Onstage Junction of the US And UK Franchise Movements
 
LURANA DONNELS O’MALLEY
“Why I Wrote the Phyllis Wheatley Pageant-Play”: Mary Church Terrell’s Bicentennial Activism
 
JULIET GUZZETTA
The Lasting Theatre of Dario Fo and Franca Rame
 
ASHLEY E. LUCAS
Chavez Ravine: Culture Clash and the Political Project of Rewriting History
 
NOE MONTEZ
The Heavy Lifting: Resisting the Obama Presidency’s Neoliberalist Conceptions of the American Dream in Kristoffer Diaz’s The Elaborate Entrance of Chad Deity