Macunaima by Mario de Andrade (Brazil), adapted by Jacques Thierot and Grupo Pau-Brasil, directed by Antunes Filho, at the Kennedy Center, Washington, D.C., and the Entermedia Theatre, New York, 1979.

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Historias para ser contadas [Stories To Be Told] by Osvaldo Dragún (Argentina), directed by Oscar Ferrigno, at the Kennedy Center, Washington, D.C., and La Mama, New York, 1979.

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¿Cuántos años tiene un día...? [How Many Years Does a Day Have...?] by Teatro Ictus with Sergio Vodánovic (Chile), at the Kennedy Center, Washington, D.C., and La Mama, New York, 1979.

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Lástima que sea puta [Tis Pity She’s a Whore] by John Ford, translated into Spanish by Juan José Gurrola and Fiona Alexander, directed by Juan José Gurrola (Mexico), at the Kennedy Center, Washington, D.C., and La Mama, New York, 1979. Photo on the left shows an image of the Mexican production, also from 1979.

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Los amigos de Candelita [Candelita’ Friends] by Teatro El Galpón from Uruguay, adapted by Teatro Taller de Colombia, directed by Jorge Vargas, at La Mama, New York, 1979. El Emperador Gynt [Emperor Gynt], a free adaptation by Franklin Caicedo and Oscar Cruz of Ibsen’s Peer Gynt, performed by Franklin Caicedo, directed by Oscar Cruz and Hector Bidone (Argentina), at La Mama and at Repertorio Español, New York, 1979.

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Lucky Strike, written and directed by Hrant Alianak, of the Factory Theatre Lab (Toronto, Canada), at the Kennedy Center, Washington, D.C., and La Mama, New York, 1979.

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Les Hauts et les Bas de la Vie d’une Diva: Sarah Menard par Eux-Memes [The Ups and Downs in the Life of a Diva: Sarah Menard by Themselves], written and directed by Jean-Claude Germain (Montreal, Canada), presented by the Theatre d’Aujourd’hui at the Kennedy Center, Washington, D.C., 1979.

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One-Woman Show by Norma Aleandro (Argentina) at the O’Neill Theatre Center, Waterford, Connecticut, 1979.

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Lo crudo, lo cocido y lo podrido [The Raw, the Cooked and the Rotten] by Marco Antonio de la Parra (Chile), reading directed by Joanne Pottlitzer, at the O’Neill Theatre Center, Waterford, Connecticut, 1979.

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Patética [Pathos] by João Ribeiro Chaves Neto (Brazil), reading directed by the author, at the O’Neill Theatre Center, Waterford Connecticut, 1979.

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Festival Workshops in New York and at the O’Neill Theatre Center, Waterford Connecticut, July 1979. Participants included: Edward Albee (USA), Julian Beck and Judith Malina, the Living Theatre (USA), Saulo Benavente (Argentina), Augusto Boal (Brazil), Bread and Puppet Theatre (USA), Lee Breuer (USA), Joe Chaikin (USA), Ken Corsbie (Barbados), Factory Theatre Lab (Canada), Maria Irene Fornes (USA), Grupo Cuatrotablas (Peru), Grupo Pau-Brasil (Brazil), Grupo Tierranegra (Costa Rica), Juan José Gurrola (Mexico), Arthur Miller (USA), National Theatre of the Deaf (USA), The Talking Band (USA), Victoria Santa Cruz (Peru), Elizabeth Swados (USA), Teatro Ictus (Chile), Teatro Paraguay, Teatro Taller de Colombia, Paul Thompson (Canada).

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The Quilapayún in Concert (Chile), “La Cantata de Santa María de Iquique,” narration by Jane Fonda, at UCLA; narration by Rip Torn, at Carnegie Hall, New York, 1977. Quilapayún Concert at Hunter College Auditorium, New York, 1975. Click here to see The New York Times review of 1975 Quilapayún concert; and click here to see John Rockwell’s review of the concert for The New York Times.

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La Música Jíbara de Puerto Rico, in association with Verna Gillis, concert featuring Yomo Toro at Town Hall, New York, 1977.

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The Inti-Illimani in Concert (Chile), introduced by Pete Seeger, at Avery Fisher Hall, New York, 1976. Inti-Illimani Concert at Hunter College Auditorium, New York, 1974. Click here for The New York Times review.

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Angel and Isabel Parra in Concert (Chile) at Hunter College Auditorium, New York, 1976.

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Chile, Chile!, collectively written, directed by Joseph Chaikin, at the Washington Square Methodist Church and at St. Clement’s Church, New York, 1975. (1976 Obie Award). Click here for the Village Voice review by Arthur Sainer from Chile, Chile! production at St. Clement’s Church, NY.

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Latin American Fair of Opinion, directed by Augusto Boal (Brazil) at St. Clement’s Church, 1972. Theatre pieces by Enrique Buenaventura (Colombia), Victor Zavala (Peru), Roberto Cossa (Argentina), Jorge Díaz (Chile), Gianfrancesco Guarnieri (Brazil), Augusto Boal (Brazil); concerts, including Gato Barbieri’s Quintet, and the Haitian-American Troupe Kouidor; poetry readings; films; art exhibition; panel discussions. (1972 Obie Award).

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Gilberto Gil in Concert (Brazil) at St. Clement's Church, 1971. Click here to read The New York Times review.

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Ceremony for a Murdered Black by Fernando Arrabal, translated into English and directed by Cástulo Guerra (Argentina), at St. Clement’s Church and the Cathedral of St. John the Divine, New York, 1971.

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An Alexandro Jodorowsky Festival, featuring a talk by Jodorowsky (Chile/France/Mexico) at St. Clement’s Sunday Mass, screenings of his films El Topo and Fando and Lis, and an exhibit of his Panique comicstrips, at St. Clement’s Church, New York, 1970.

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Arena Conta Bolivar, written and directed by Augusto Boal, the Arena Theatre of São Paulo (Brazil), at the New York Shakespeare Festival Public Theatre, New York, 1970.

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Arena Conta Zumbi, by Augusto Boal and Gianfrancesco Guarnieri (Brazil), directed by Augusto Boal, of the Arena Theatre of São Paulo, at St. Clement’s Church, New York, 1969. Click here to read the The New York Times review.

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Vimazoluleka, written and directed by Levy Rossell (Venezuela), at St. Clement’s Church, 1969.

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La Remolienda by Alejandro Sieveking (Chile), directed by Victor Jara for ITUCH, at the Barbizon Plaza Theatre, New York, 1968. Click here to see The New York Times review.