Rabinal Achi

Tedlock's photographs and diagrams accompany the text, capturing nuances not apparent in the dialogue alone. He also provides an introduction and commentary that explains the historical events compressed into the play, the Spanish influence on the Mayan dramatic tradition, and the cultural and religious world preserved in this remarkable play."--BOOK JACKET.

In two decades of traveling throughout Mexico, Central America, and Europe, French priest Charles Étienne Brasseur de Bourbourg (1814–1874) amassed hundreds of indigenous manuscripts and printed books, including grammars and vocabularies that brought to light languages and cultures little known at the time. Although his efforts yielded many of the foundational texts of Mesoamerican studies—the pre-Columbian Codex Troana, the only known copies of the Popol Vuh and the indigenous dance drama Rabinal-Achi, and Diego De Landa’s Relación de la cosas de Yucatán—Brasseur earned disdain among scholars for his theories linking Maya writings to the mythical continent of Atlantis. In The Manuscript Hunter, translator Katia Sainson reasserts his standing as the founder of modern Maya studies, presenting three of his travel writings in English for the first time. While civil wars raged throughout Mexico and Central America and foreign interests sought access to the region’s rich resources, Brasseur focused on uncovering Mesoamerica’s mysterious past by examining its ancient manuscripts and living oral traditions. His “Notes from a Voyage in Central America,” “From Guatemala City to Rabinal,” and Voyage across the Isthmus of Tehuantepec document his travels in search of these texts and traditions. Brasseur’s writings weave vivid geographical descriptions of Central America and Mexico during the mid-1800s with keen social and political analysis, all steeped in vast knowledge of the region’s history and interest in its indigenous cultures. Coupled with Sainson’s thoughtful introduction and annotations, these captivating, accessible accounts reveal Brasseur de Bourbourg’s true accomplishments and offer an unrivaled view of the birth of Mesoamerican studies in the nineteenth century. Brasseur’s writings not only depict Central America and Mexico through the eyes of a European traveler at a key moment, but also illuminate the remarkable efforts of one man to understand and preserve Mesoamerica’s cultural traditions for all time.

The Rabinal Achi, one of the most remarkable works of Mayan literature, dates back to the 1400s. The drama is set in the Guatemalan highlands in the second half of the fifteenth century. In an exemplary trial that takes place in Kajyub, the capital of the Rabinaleb at that time, a captured enemy warrior (Quiché Achi) appears before the royal court. A series of combative dialogues pits the offending warrior against the local warrior (Rabinal Achi) and the king (Job Toj), reconstructing the deeds of those involved and retracing the antagonistic history of these two Mayan groups, the Quiché and the Rabinaleb. Alain Breton approaches the text from an anthropological and ethnographical perspective, demonstrating that this indigenous text reenacts pre-Columbian historic paradigms. Breton translated into French an entirely new transcription of the original text, and Teresa Lavender Fagan and Robert Schneider translated the text into English. Both the transcription and the translation are accompanied by detailed commentary and a glossary.

Stages of Conflict brings together an array of dramatic texts, tracing the intersection of theater and social and political life in the Americas over the past five centuries. Historical pieces from the sixteenth century to the present highlight the encounter between indigenous tradition and colonialism, while contributions from modern playwrights such as Virgilio Pinero, Jose Triana, and Denise Stolkos take on the tumultuous political and social upheavals of the past century. The editors have added critical commentary on the origins of each play, affording scholars and students of theater, performance studies, and Latin American studies the opportunity to view the history of a continent through its rich and diverse theatrical traditions.--from publisher's statement.

In Encounters on Contested Lands, Julie Burelle employs a performance studies lens to examine how instances of Indigenous self-representation in Québec challenge the national and identity discourses of the French Québécois de souche—the French-speaking descendants of white European settlers who understand themselves to be settlers no more but rather colonized and rightfully belonging to the territory of Québec. Analyzing a wide variety of performances, Burelle brings together the theater of Alexis Martin and the film L'Empreinte, which repositions the French Québécois de souche as métis, with protest marches led by Innu activists; the Indigenous company Ondinnok's theater of repatriation; the films of Yves Sioui Durand, Alanis Obomsawin, and the Wapikoni Mobile project; and the visual work of Nadia Myre. These performances, Burelle argues, challenge received definitions of sovereignty and articulate new ones while proposing to the province and, more specifically, to the French Québécois de souche, that there are alternative ways to imagine Québec's future and remember its past. The performances insist on Québec's contested nature and reframe it as animated by competing sovereignties. Together they reveal how the "colonial present tense" and "tense colonial present" operate in conjunction as they work to imagine an alternative future predicated on decolonization. Encounters on Contested Lands engages with theater and performance studies while making unique and needed contributions to Québec and Canadian studies, as well as to Indigenous and settler-colonial studies.