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Nicole Gramlich in Cascarones by I. Mayorga


The Panza Monologues DVD. Directed, co-written, designed, and produced by Irma Mayorga. Performed and co-written by Virginia Grise. Los Angeles, CA: Backyard Productions, 2009. DVD.


“Invisibility’s Contusions: Violence in Cherríe Moraga’s Heroes and Saints and The Hungry Woman and Luis Valdez’s Zoot Suit.” In Violence in American Drama: Essays on Its Staging, Meanings and Effects. Edited by Alfonso Ceballos Munoz, Ramón Espejo Romero, and Bernardo Muñoz Martinez. Jefferson, N.C.: McFarland. 2011. 


“Homecoming: The Politics of Myth and Location in Cherríe Moraga’s The Hungry Woman: A Mexican Medea and Heart of the Earth: A Popol Vuh Story.” Afterward in The Hungry Woman by Cherríe Moraga. Albuquerque, NM: West End Press. 155-63. 2001.


The New England Consortium of Latina/o Studies. “Building community: The New England Consortium of Latina/o Studies (NECLS).” Latino Studies (2016) 14: 406-12. https://link.springer. com/article/10.1057/s41276-016-0011-5. An article describing the creation and operations of a one-of-a-kind scholarly consortium for Latinx Studies scholars in New England. Collective authorship by the consortium. 


“Power to the Panza: The Politics of Panza Positive Cultural Production,” (with Virginia Grise), National Association of Chicana/o Studies Annual Conference, online conference proceedings, March 2008. (peer reviewed).


"Re(a)d Roots: Grounding History, Identity, and Performance in the work of Celia Herrera Rodríguez.” Beginning a New Millennium of Chicana and Chicano Scholarship: Selected Proceedings of the 2001 NACCS Conference. SJSU Scholar Works. 2001. http://scholarworks. (invited)

“Our Alamo: Resistant Theatricality in Kathy Vargas’s ‘My Alamo’ Photomontage Series.” Women's Studies: An inter-disciplinary journal, April-May 2009, v38 i3, 312-341. (peer reviewed).


“Introduction: Javier Antonio González and Caborca Theater’s Zoetrope: Part 1.” In Encuentro 2014: Encountering Latina/o Theatre and Performance. Eds. Trevor Boffone, Teresa Marrero, and Chantal Rodríguez. Evanston: Northwestern University Press, 2019. Expected 2018. A critical introduction authored to accompany publication of the play Zoetrope: Part 1 by Caborca Theater Company for this vital anthology of new Latinx plays.

“The Copper Thieves.” Imagined Theatres: Writing for a Theoretical Stage. Collected and edited by Daniel Sack. New York: Routledge, 2017.

“Gloss: The Copper Thieves.” In Imagined Theatres: Writing for a Theoretical Stage. Collected and edited by Daniel Sack. New York: Routledge, 2017.


“A Gloss on Erik Ehn’s Crow Takes Hat.” Imagined Theatres: Writing for a Theoretical Stage. Collected and edited by Daniel Sack. New York: Routledge, 2017.


“A Gloss on Nia Witherspoon’s SHE.” Imagined Theatres: Writing for a Theoretical Stage. Collected and edited by Daniel Sack. New York: Routledge, 2017.

“Principios.” In Cultural Conversations: Works in Progress - Writers in the Making, edited by Susan B. Russell, 9-12. 1st ed. Vol. 1. Berlin: Eifrig Publishing, 2011.  


“Keynote Address Delivered at the Mid-America Theatre Conference: En Ser Inspirado | On Being Inspired.” Theatre History Studies 35, no. 1 (2016): 301-320.

Guest Columnist. The San Antonio Current. 2004.


“Messages from America.” VIDA: A Latina Literary Review at Mount Holyoke College, 2001. 33-42.  


Book Review. "Latin Numbers: Playing Latino in Twentieth-Century U.S. Popular Performance by Brian Eugenio Herrera." Latino Studies. Palgrave-MacMillan. Fall 2016. (invited)


Book Review. "Maria Irene Fornes by Scott Cummings." Journal of Dramatic Theory and Criticism 28, no. 2 (Spring 2014). (invited)


Performance Review. "blu (world premiere) by Virginia Grise." Company of Angels Theater. Los Angeles, CA. Theatre Journal, Volume 64, Number 3, October 2012, pp. 412-414.  


“Cherríe Moraga.” Dictionary of Literary Biography: Twentieth-Century American Dramatists, Fourth Series, v. 266. Detroit, MI: Gale Group. 2002.  


¡STICK!: a short story of texas mexican education. (Co-author, Virginia Grise). Cultural Conversations: Works in Progress - Writers in the Making. Edited by Susan Russell. Berlin: Eifrig Publishing, LLC, 2011. 


“Solace in Politics: An interview with playwright Ricardo Bracho.” Ollantay Theatre Magazine, Fall 2008. 47-56. 2008. (peer reviewed)


Mayorga, Irma and Olga Sanchez-Saltveit, Armando Huipe, Jaime Gahlon, Juliette Carillo. “Call to Action, Academics! #HigherEdHireArtists.” June 8, 2020. call-action-academics.

Mayorga, Irma and Olga Sanchez. “Introducing Ignited: Communiques from the LTC's El Fuego Initiative.” 24 October 2016.


Mayorga, Irma and Magdalena Gómez, Marisela Treviño Orta, Elaine Romero, and Martin Zimmerman. “Should Latina/o Roles Be Cast with Non-Latina/o Actors?” Café Onda. Eds. Trevor Buffone and Emily Aguilar Thomas., 6 December 2015. should-latinao-roles-be-cast-with-non-latinao-actors. Café Onda is the official, curated blog of the Latina/o Theatre Commons.


“Voraciously Curious, Socially Conscientious.” TCG Circle. Theatre Communications Group, Feb. 2014.  


“Irma Mayorga talks 3030.” NoPassport. Caridad Svich & NoPassport, 9 February 2014.  

“Making History, Making Texas.” San Antonio Current, April 3, 2003, Arts, Etc. sec.

“Women—Making History, Making Texas.” San Antonio Current, April 3, 2003, Arts, Etc. sec.

“Cowpunched.” San Antonio Current, May 1, 2003, Arts, Etc. sec.


Series Co-editor/curator with Olga Sánchez-Saltveit. “Ignited: Communiques from the LTC’s EL FUEGO initiative.” Café Onda and, 2016-present. A component of HowlRound’s national digital platform, Café Onda is the refereed, digital platform of the Latinx Theatre Commons. 

Articles published under this series, editorial work by Irma Mayorga & Olga Sanchez


“Design Methodology.” In Mercury Vindicated a masque at Whitehall 1616. Stanford, CA: Stanford University. 1999.

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