My work as a scholar combines performance studies and theatre history. I am particularly interested in how performance enables, facilitates, and/or imagines worlds otherwise: worlds that might have been, or worlds that might yet to be. I also publish on pedagogy and practice.



In my monograph Traveler, there is no road: Theatre, the Spanish Civil War, and the Decolonial Imagination in the Americas (University of Iowa Press, 2017), I examine the Spanish Civil War as both a military and an interpretative war. I argue that performance and theatre demonstrate how U.S. based Anglophone and Hispanophone communities used Spain to imagine decolonial options: ways of being and thinking alternative to those rehearsed and upheld by imperial, colonial, and neo-colonial projects in the Americas, from “contact” through the early 20th century.


The interventions of my book are three fold. First, I adapt the principals of modernity/coloniality (M/C) into critical and historiographical methodologies for theatre history and performance studies. Secondly, the book advocates for a reconsideration of Spain as central to American hemispheric theatre history and performance studies. Thirdly, the book provides models for examining trans-national theatre and performance practice, decolonial performance (considered broadly), and Spanish language theatre in the U.S. before the 1960s.


Full Bibliograhy

My second monograph consists of a series of localized examinations of the intersections of performance, violence, and peacemaking in Colombia. My project concerns itself with the ways in which non-human entities participate in trans-historical, trans-national acts of transfer (Taylor) to enact decolonial critiques of liberal humanist presumptions of corporeal value.


My third monograph focuses on Latin American and Iberian cultural, aesthetic, and political exchange and influence through theatre artist tours in the 1920s and 1930s. The historiographical work seeks to track the ways in which theatre participates in, ignores, and develops key philosophical positions concerning pan-hispanidad, pan-Latinidad, hemispheric republicanism, and trans-Atlantic regional affinities.

Book Chapters

  • Towards a Synthesis of Natural and Human History: Situating the Municipal and Ecclesiastic Viceregal Arches of 1680 Mexico City within the Lacustrine

    Journal of American Theatre and Drama. Vol 29 No 2 (Spring 2017)

  • The desire to see the city: Margarita Xirgu and Cipriano de Rivas y Cherif's production of Elmer Rice's Street Scene in 1930 Madrid

    Theatre Annual Vol 68 (2015): 61-78

  • Worlds of More than One: Pedagogies of Care and Naomi Iizuka’s Good Kids

    Theatre Topics 26:3 (November 2016): 295-306

  • Corporeal Disasters of War: Legibilities of ‘Spain’ and the Jewish Body in Helen Tamiris’s Adelante!

    Theatre History Studies Vol 33 (2014): 35--55

  • Companies to Keep: Air Raid Radio Dramas and International Ethical Responsibility in America, 1936-1939

    Theatre History Studies Vol 32 (2012): 33-52

  • Ybor City Diasporas, the Spanish Civil War and the Federal Theatre Project’s Production of ‘Eso no puede ocurrir aqui’ (It Can’t Happen Here)

    New England Theatre Journal Vol 22 (2011): 53-78

  • Between the Language and Silence of War: Martha Gellhorn, Dorothy Bridges and Hemingway’s The Fifth Column

    Modern Drama 53:1 (Spring 2010): 57-75

  • Urban Warfare and Placings of Somatic Obligation in the Text of Jonathan Holmes’ Falluja.

    Extensions Journal of Technology and Embodiment, UCLA Vol 5 (December 2009)

  • Fantasy of a Native Daughter: Seattle Repertory Theatre’s Production of My Name is  Rachel Corrie

    Journal of American Drama and Theatre 21:2 (Spring 2009): 29-47

  • Mythologies and Commodifications of Dominion in The Dog Whisperer with Cesar Millan

    Journal of Critical Animal Studies 7:1 (Spring 2009)

Journal Articles

“Remember history.  Teach it.  Learn it.  Honor it.  Be passionate about your theory and your politics, and communicate that passion widely.  Believe in things, and share your beliefs faithfully.”


- Jill Dolan, Geographies of Learning


Theatre Arts Department

University of Pittsburgh

1617 Cathedral of Learning

Pittsburgh, PA 15260

 (412) 624-6659

Copyright © 2017 Lisa Jackson-Schebetta