Adam Versenyi
Biographic Data
| ID | 1209086 |
|---|---|
| NAME | Adam Versenyi |
| GIVEN NAMES | Adam |
| FAMILY NAME | Versenyi |
| SIGNATURE | VERSENYI A |
| AFFILIATIONS | 1 University of North Carolina Department of Dramatic Art |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
María Irene Fornés in Context
Sovereign Acts
Translation as an Epistemological Paradigm for Theatre in the Americas
Translation as an Epistemological Paradigm for Theatre in the Americas Adam Versényi (bio) Abstract Theatre in the Americas defines itself through translation in relation to other cultures in the world. Translation becomes, therefore, the means by which the theatre and performance of one region of the Americas are articulated to another. Through three case studies of theatrical translation—Argentine playwright Griselda Gambaro’s Bitter Blood in S…
Family and Identity in Contemporary Cuban and Puerto Rican Drama
You Mean, There is Theatre in Latin America
You mean, there is theatre in Latin America?” Adam Versényi This was the typical question I would receive a little over twenty years ago when I began to talk about my burgeoning interest in Latin American theatre. The region and the theatre were not linked in the minds of either US theatre professionals or the general public. And, if the truth be told, at the time I was not much further ahead of my perplexed questioners. While I was in my first y…
Convention and Transgression
Negotiating Performance
Theatre in Latin America
TDR Environmentally Unsound
Penas Sin Importancia
ACTORES: Maritza Ruiz; Alonso Arguello; Fredy Bedoya; Astrith vargas; Fernando Aristizabal; Wilmar Sanchez; Gloria Montoya; Esteban Echeverri. MUSICA: Haydee Marin. LUCESs: Marlon Vasquez. ESCENOGRAFIA: Victor Morales. MAQUILLAJE: Clara Elena Arango. ASISTENTE DE ESCENA: Yomaira Herrera. DISENO ESCENOGRAFICO: Ramon Perez. DISENO DE LUCES: Nestor Tabares. VESTUARIO: Gloria Perez. UTILERIA: Fernando Aristizabal
Getting under the Aztec Skin
In NTQ16, Adam Versényi explored the theatricality of performance rituals in pre-Columbian Latin America. Here, he takes up a line started by Robert Potter in NTQ8, and examines the way in which the Spanish mendicant friars who followed hard on the heels of Cortés adapted Aztec rituals for their own pedagogic purposes. Less expectedly, the friars were also to some extent ‘adapted by’ those rituals, in moulding a performing medium that borrowed fr…
Searching for El Dorado
The quasi-theatrical kinds of performance-ritual which existed in pre-Columbian Latin America have been little investigated, and are almost entirely neglected by English-speaking theatre scholars. In NTQ 8, Robert Potter looked at ways in which the missionaries who followed in the wake of the Spanish conquistadores tried to adapt Aztec rituals to their own proselytizing purposes: and here, Adam Versényi, in the first of a series of articles on ea…
No prominent works on this page.
Searching for El Dorado
The quasi-theatrical kinds of performance-ritual which existed in pre-Columbian Latin America have been little investigated, and are almost entirely neglected by English-speaking theatre scholars. In NTQ 8, Robert Potter looked at ways in which the missionaries who followed in the wake of the Spanish conquistadores tried to adapt Aztec rituals to their own proselytizing purposes: and here, Adam Versényi, in the first of a series of articles on ea…
Getting under the Aztec Skin
In NTQ16, Adam Versényi explored the theatricality of performance rituals in pre-Columbian Latin America. Here, he takes up a line started by Robert Potter in NTQ8, and examines the way in which the Spanish mendicant friars who followed hard on the heels of Cortés adapted Aztec rituals for their own pedagogic purposes. Less expectedly, the friars were also to some extent ‘adapted by’ those rituals, in moulding a performing medium that borrowed fr…
TDR Environmentally Unsound
Penas Sin Importancia
ACTORES: Maritza Ruiz; Alonso Arguello; Fredy Bedoya; Astrith vargas; Fernando Aristizabal; Wilmar Sanchez; Gloria Montoya; Esteban Echeverri. MUSICA: Haydee Marin. LUCESs: Marlon Vasquez. ESCENOGRAFIA: Victor Morales. MAQUILLAJE: Clara Elena Arango. ASISTENTE DE ESCENA: Yomaira Herrera. DISENO ESCENOGRAFICO: Ramon Perez. DISENO DE LUCES: Nestor Tabares. VESTUARIO: Gloria Perez. UTILERIA: Fernando Aristizabal
Theatre in Latin America
Negotiating Performance
Convention and Transgression
You Mean, There is Theatre in Latin America
You mean, there is theatre in Latin America?” Adam Versényi This was the typical question I would receive a little over twenty years ago when I began to talk about my burgeoning interest in Latin American theatre. The region and the theatre were not linked in the minds of either US theatre professionals or the general public. And, if the truth be told, at the time I was not much further ahead of my perplexed questioners. While I was in my first y…
Family and Identity in Contemporary Cuban and Puerto Rican Drama
Translation as an Epistemological Paradigm for Theatre in the Americas
Translation as an Epistemological Paradigm for Theatre in the Americas Adam Versényi (bio) Abstract Theatre in the Americas defines itself through translation in relation to other cultures in the world. Translation becomes, therefore, the means by which the theatre and performance of one region of the Americas are articulated to another. Through three case studies of theatrical translation—Argentine playwright Griselda Gambaro’s Bitter Blood in S…
Sovereign Acts
María Irene Fornés in Context
Art (9 works) · History (9 works) · Political science (6 works) · Latin Americans (5 works) · Law (5 works) · Literature (5 works) · Sociology (5 works) · History (4 works) · Philosophy (4 works) · Drama (3 works)