May, TheresaSanchez Saltveit, Olga2020-02-272020-02-272020-02-27https://hdl.handle.net/1794/25292The Latinx Theatre Commons (LTC) emerged in 2012 in response and resistance to years of misrepresentation and erasure of Latinx artistic work and presence by the American theatre field in practice and in scholarship. This dissertation is the first comprehensive chronicle and study of the LTC, reviewing the movement’s methods, manifestations, and implications through interviews with key participants and my own reflections as a founding Steering Committee member, balanced against theories of Latinx feminisms, the Commons, and Latin American decolonization. My research spans the early years of the movement, from the impetus that generated the meeting of the “DC-8” in May 2012, the formation of its first Steering Committee (comprised of Latinx theatre makers, scholars, and advocates from all over the US) in the summer of 2012; through the launch of the LTC’s digital and social media presences; the 2013 Boston Convening; the 2014 Encuentro and the 2018 Encuentro de las Américas; the 2015 and 2018 Carnavals; the El Fuego initiative (2016-19); the Dallas, Seattle, New York City, and Miami Regional Convenings (2015-19); the Maria Irene Fornés Institute Symposium (2018); and the TYA Sin Fronteras Festival and Conference (2019). A review of the mid-twentieth century’s Teatro Nacional de Aztlán (TENAZ) and the rise of Latinx feminisms in Chapters II and III provide the foundations for the story of the LTC that is described in Chapter IV. In Chapter V, the movement’s activities and methods are investigated through the multiple lenses of Latinx feminisms, commons and decolonization theories. Intersectional, non-hierarchical, and radically inclusive Latinx feminist priorities align with commons ideologies, which champion community consensus when determining the care and application of mutually shared resources. This fundamentally anti-capitalist approach reinforces the work of decolonization, the intentional transformation of the way social, political, and economic processes are viewed and implemented. These three ideological frameworks at work within the LTC are mutually supportive and, interwoven, they sustain the LTC’s mission, to transform the narrative of the American theatre, with integrity. Chapter VI concludes with the greater implications and questions about the LTC’s work as a model for social justice and revolution.en-USAll Rights Reserved.commons modeldecolonizationfeminismLatina/o/xTENAZtheatreElectronic Thesis or Dissertation