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Progress:

¡Oye!
Puerto Rican
Theater
Breaks Through

In the 1970s, Lincoln Center served as a workshop in Manhattan's West Side for Puerto Rican theater.

En los años 70, el Lincoln Center sirvió de taller para el teatro boricua en el West Side de Manhattan.

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1974 performance of Short Eyes, by Miguel Piñero, at the Vivian Beaumont Theater. Lincoln Center for the Performing Arts Archives.
The Puerto Rican Traveling Theater in "Marine Tiger" at the Lincoln Center Out- Of-Doors Festival, 1983. Photo by Susanne Faulkner Stevens © Lincoln Center for the Performing Arts.
Puerto Rican Traveling Theater performing "The Passion of Antigona Pérez", Miriam Colón at center. Photo by Susanne Faulkner Stevens © Lincoln Center for the Performing Arts.
The Street Theater Inc. performances at the Lincoln Center Community/Street Theater Festival in 1972 included a play by Miguel Piñero. Photo by Susanne Faulkner Stevens © Lincoln Center for the Performing Arts.
Alliance of Latin Arts in "The Sound of Music" at the 1975 Lincoln Center Out- Of-Doors Festival. Photo by Susanne Faulkner Stevens © Lincoln Center for the Performing Arts.
Miguel Piñero and Joseph Papp holding the 1974 New York Drama Critics' Circle Award for "Short Eyes." Photo by Friedman-Abeles, Billy Rose Theatre Division, The New York Public Library for the Performing Arts.

One writer broke through in a major way.

Miguel Piñero staged his work here and found critical acclaim.

Por aquel entonces, un dramaturgo hizo una resonante irrupción en escena.

Hablamos de Miguel Piñero, que estrenó su obra aquí y la crítica especializada la aplaudió de pie.

Miguel Piñero, Miguel Algarín, Sandra María Esteves, Pedro Pietri, Tato Laviera, Bimbo Rivas, y Lucky Cienfuegos are considered the founders of the Nuyorican Poetry Movement as well as of the Nuyorican Poets Cafe, the important workshop on the Lower East Side where Puerto Rican arts in New York City became known as "Nuyorican."

Bimbo Rivas is credited for coining the name “Loisaida,” a term that shortened “Lower East Side” and conveyed its special significance to the New York Puerto Rican community.

Miguel Piñero, Miguel Algarín, Sandra María Esteves, Pedro Pietri, Tato Laviera, Bimbo Rivas, y Lucky Cienfuegos son considerados los fundadores del Nuyorican Poet's Cafe, el importante taller del Lower East Side donde las artes boricuas de Nueva York se dieron a conocer como "Nuyorican".

Se le atribuye a Bimbo Rivas la creación del término “Loisaida”, que proviene de la conjunción de “Lower East Side” y transmite su especial significado para la comunidad boricua de Nueva York.

House program for the Salsa of the Latin Woman, directed by Anita Vélez and produced by Carla Pinza, and presented by the Latino Playwrights' Reading Workshop Series at the Lincoln Center Out-Of-Doors Festival, Saturday, September 2, 1978. Lincoln Center for the Performing Arts Archives.
Leonard Bernstein and Anita Vélez-Mitchell, an early Anita in "West Side Story." Anita Vélez- Mitchell Papers, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.
The Family, Inc in "The Crucifixion" at the Lincoln Center Out-Of-Doors Festival, 1980. Photo by Susanne Faulkner Stevens, Lincoln Center for the Performing Arts Archives.
Flyer for the 1978 Lincoln Center Out-of-Doors Festival, with event listings from August 15 through September 3 and a cartoon rendering of crowds on the Lincoln Center campus. Lincoln Center for the Performing Arts Archives.

Still, the path to life in New York City from Puerto Rico has never meant one thing. It has always included many neighborhoods. This area is one of them.

Sin embargo, el recorrido de Puerto Rico a la vida en Nueva York tiene múltiples aristas. Desde siempre, ha abarcado muchos barrios, y esta zona es tan solo uno de ellos.

Flyer for the Puerto Rican Traveling Theatre's [sic] production of "Historias para ser Contadas," showing the 1979 touring schedule. Lincoln Center for the Performing Arts Archives.

What are the stories left untold about the many workshops for Puerto Rican theater, writing, and art around New York City?

¿Cuáles son las historias que aún nadie contó sobre los diversos talleres de teatro, literatura y arte boricua que existen en Nueva York?

Actor, director, and founder of the Puerto Rican Traveling Theater Miriam Colón. Photo by Susanne Faulkner Stevens, Lincoln Center for the Performing Arts Archives.

"OYE...

I mean, a lot of the people who come to see the play, they're citizens, tax paying citizens. But except for April 15, they don't consider themselves citizens with a responsibility to fulfill the duties of citizens. It's part of their responsibility to know what's going on in the government, in the school district."
- Miguel Piñero

"Listen...

Muchos de los que vienen a ver la obra son ciudadanos que cumplen con su deber de pagar impuestos. Pero salvo el 15 de abril, no se sienten ciudadanos con la responsabilidad de cumplir con sus deberes cívicos. Es parte de su responsabilidad estar al tanto de lo que está pasando en el gobierno, en el distrito escolar." - Miguel Piñero

Actor and director Carla Pinza. Anita Vélez- Mitchell Papers, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.

"También queremos contar cómo vivimos y vemos este país… Nosotros también somos parte del sueño americano. Nacimos y nos criamos en Nueva York pero resulta que tenemos raíces puertorriqueñas, dominicanas y cubanas". - Carla Pinza

"We also have something to say about how we live and see this country...We're part of the American dream too. We were born and raised in New York City and happen to be of Puerto Rican, Dominican and Cuban background." - Carla Pinza

Actor, director, and founder of the Puerto Rican Traveling Theater Miriam Colón. Photo by Susanne Faulkner Stevens, Lincoln Center for the Performing Arts Archives.

"Yo sabía que necesitábamos
un hogar.

Nos botaban de las high schools, de los sótanos de las iglesias, de los centros comunitarios, de un lado y de otro. Éramos como un teatro rodante que iba de auditorios y gimnasios escolares, de aquí para allá. Andábamos buscando un sitio y al fin lo encontramos". - Miriam Colón

"I knew we needed a home.

We were being kicked out of high schools, church basements, community centers, from place to place. We really were like a traveling theater going from school auditoriums and gymnasiums, to this and that. I was hoping we could find a place and we found this." - Miriam Colón

Actor, poet, and activist Bimbo Rivas. CHARAS/El Bohio Cultural and Community Records, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.

"Loisaida. Basically, it is the Lower East Side in Spanglish. Spanish and English. Cultures put together in one thought. A clash. The result of that clash put together in one thought. Spanglish. Lower East Side. Loisaida...How could there be...decay and...growth in the same place? It's because creativity is taking place here!" - Bimbo Rivas

"Loisaida. Básicamente, significa Lower East Side en spanglish. Español e inglés. Culturas que se unen en un solo pensamiento. Chocan, y el resultado de ese choque es la unión en un pensamiento. Spanglish. Lower East Side. Loisaida...¿Cómo puede haber decadencia y...crecimiento en un mismo lugar? ¡Eso es porque aquí hay creatividad, señores"! - Bimbo Rivas

House program for La Carreta ("The Oxcart"), by René Marqués, presented by Nuevo Círculo Dramático at the Hunts Point Palace from December 9 to 12, 1954. Clara Colón Papers. Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.
Lucy Boscana, Raúl Juliá, and Miriam Colón after a performance of "La Carreta" ("The Oxcart"). Offices of the Government of Puerto Rico in the United States (OGPRUS) Records, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.

"The Oxcart"

"The Oxcart," by René Marqués, premiered in New York City in 1953. Early performances in Spanish took place in small venues like Hunts Point Palace in the Bronx. Miriam Colón and Carla Pinza both acted in the December 19, 1966, English premiere of "The Oxcart" at the Greenwich Mews Theater. This experience led to Colón's 1967 formation of the Puerto Rican Traveling Theater, which presented "The Oxcart" as its first production. José García Torres directed a film of the play in 1970.

"La Carreta"

"La Carreta", de René Marqués, se estrenó en Nueva York en 1953. Las primeras funciones en español se presentaron en salas pequeñas como Hunts Point Palace en el Bronx. Miriam Colón y Carla Pinza actuaron en el estreno en inglés de "La carreta", "The Oxcart", el 19 de diciembre de 1966 en el Greenwich Mews Theater. Esta experiencia motivó a Colón para que en 1967 creara el grupo Teatro Rodante Puertorriqueño, que presentó "La carreta" como su primera producción. José García Torres dirigió una película sobre la obra en 1970.

Leonard Bernstein and Anita Vélez-Mitchell, an early Anita in "West Side Story." Anita Vélez- Mitchell Papers, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.
House program for the Salsa of the Latin Woman, directed by Anita Vélez and produced by Carla Pinza, and presented by the Latino Playwrights' Reading Workshop Series at the Lincoln Center Out-Of-Doors Festival, Saturday, September 2, 1978. Lincoln Center for the Performing Arts Archives.

"West Side Story"

The musical "West Side Story," which features rival teen groups, the Polish American "Jets" and the Puerto Rican "Sharks," premiered on Broadway in 1957. Jerome Robbins and Arthur Laurents developed the story and Robbins choreographed. Leonard Bernstein composed the score. Stephen Sondheim wrote the songs. A film adaptation directed by Robert Wise and Jerome Robbins came out in 1961 and includes scenes filmed in Lincoln Square among the demolition and construction to build Lincoln Center. In 2021, Steven Spielberg released a re-imagined “West Side Story” film.

"West Side Story"

El musical "West Side Story", que cuenta la historia de dos grupos de adolescentes rivales, los "Jets" polacos americanos y los “Sharks” puertorriqueños, se estrenó en Broadway en 1957. Jerome Robbins y Arthur Laurents escribieron la historia y Robbins coreografió. Leonard Bernstein compuso las melodías. Stephen Sondheim escribió las canciones. En 1961, se estrenó una adaptación cinematográfica dirigida por Robert Wise y Jerome Robbins que incluye escenas rodadas en Lincoln Square entre la demolición y la construcción para edificar el Lincoln Center. En 2021, Steven Spielberg estrenó una reversión de la película "West Side Story".

House program for Short Eyes, by Miguel Piñero, produced by Joseph Papp and directed by Marvin Felix Camillo for the New York Shakespeare Festival at Lincoln Center in 1974. Lincoln Center for the Performing Arts Archives.

"Short Eyes"

"Short Eyes," by Miguel Piñero, premiered in 1974 at the Theatre at the Riverside Church on the Upper West Side. The actors came from The Family. Marvin Félix Camillo directed the play. "Short Eyes" then moved to the Public Theater. For a brief time in April 1974, "Short Eyes" traveled to Philadelphia. The play officially opened on Broadway at the Vivian Beaumont Theater of Lincoln Center on May 23, 1974 (previews began on May 9). Robert M. Young directed a film adaptation written by Miguel Piñero in 1977.

"Short Eyes" de Miguel Piñero se estrenó en 1974 en el teatro de Riverside Church en Upper West Side. Los actores provenían de La familia. Marvin Félix Camillo dirigió la obra. "Short Eyes" se trasladó después al Public Theater. Durante un breve período, en abril de 1974, "Short Eyes" viajó a Filadelfia. La obra se estrenó oficialmente en Broadway, en el Vivian Beaumont Theater del Lincoln Center, el 23 de mayo de 1974 (los preestrenos comenzaron el 9 de mayo). Robert M. Young dirigió una adaptación cinematográfica escrita por Miguel Piñero en 1977.

"Sideshow"

Hurry, hurry, step right up and see the baddest show in town for only fifty cents.

HÉCTOR, "the Man," a character written as 11 to 13 years old, Puerto Rican

These are words from "Sideshow," a one-act play by Miguel Piñero, set in New York City, told over one day. The script was co-written with a teenage theater troupe called the Young Family (a spiritual successor to The Family troupe). The Young Family often met to write in Piñero's Loisaida living room. "Sideshow" follows eight Puerto Rican teens who decide to put on a play about their lives to reclaim their story from authority figures. "I'm the director," declares another character, 15-year-old Malo. "Ahh, it figures, it figures!" responds the group.

¡Apúrense, apúrense! Vengan a ver el peor espectáculo de la ciudad por solo cincuenta centavos."

Héctor, "el Hombre", un personaje de entre 11 y 13 años, puertorriqueño

Son palabras extraídas de "Sideshow", una obra en un solo acto de Miguel Piñero, ambientada en Nueva York que transcurre en un solo día. El guion contó con la colaboración con un grupo de teatro de adolescentes llamado Young Family (La familia joven), sucesores espirituales del grupo La familia. La Young Family se solía reunir a escribir la obra en el salón de la casa en Loisaida de Piñero. "Sideshow" cuenta las andanzas de ocho adolescentes que se proponen montar una obra de teatro para reivindicar sus relatos ante las figuras de autoridad. "Yo soy el director", anuncia otro de los personajes, Malo de 15 años. "¡Claro!… ¿y cómo no?", replican los demás.

What Does It Take for a Playwright to Break Through? ¿Qué hace posible que un dramaturgo se abra camino?

Flyer for the Puerto Rican Traveling Theatre's [sic] production of "Historias para ser Contadas," showing the 1979 touring schedule. Lincoln Center for the Performing Arts Archives.

Traveling Shows

The circulation of stories can lead to transformation. Beginning in 1971, Lincoln Center became a home for traveling theater shows. The schedules of the Puerto Rican Traveling Theater demonstrate how performers could treat the city as a workshop and bring their shows to all parts of town.

Espectáculos Itinerantes

La circulación de historias puede provocar transformaciones. A partir de 1971, Lincoln Center se convirtió en sede de espectáculos teatrales rodantes. Las carteleras del Teatro Rodante Puertorriqueño evidenciaban que estos artistas podían convertir la ciudad entera en un taller y llevar sus espectáculos a todos los rincones.

The Street Theater Inc. performances at the Lincoln Center Community/Street Theater Festival in 1972 included a play by Miguel Piñero. Photo by Susanne Faulkner Stevens, Lincoln Center for the Performing Arts Archives.
Puerto Rican Traveling Theater performing "The Passion of Antigona Pérez", Miriam Colón at center. Photo by Susanne Faulkner Stevens, Lincoln Center for the Performing Arts Archives.

Traveling Shows

These various traveling troupes performed all over the Lincoln Center campus, and in doing so left their mark on each space.

Espectáculos Itinerantes

Estas diversas compañías itinerantes hicieron representaciones por todo el campus del Lincoln Center y, al hacerlo, dejaron su huella en cada uno de estos espacios.

House program for the Salsa of the Latin Woman, directed by Anita Vélez and produced by Carla Pinza, and presented by the Latino Playwrights' Reading Workshop Series at the Lincoln Center Out-Of-Doors Festival, Saturday, September 2, 1978. Lincoln Center for the Performing Arts Archives.

Traveling Shows

The Alliance of Latin Arts presented an all-Latine cast and crew production of "West Side Story" in Damrosch Park.

Espectáculos Itinerantes

La Alianza Latina para las Artes presentó una producción de "West Side Story" con reparto y equipo exclusivamente latinos en Damrosch Park.

Producer Anita Vélez-Mitchell and organizer Carla Pinza of The Latino Playwright's Reading Workshop.

Traveling Shows

The Latino Playwright's Reading Workshop organized by Carla Pinza, and produced by Anita Vélez-Mitchell, presented works written by Latine women, performed by Latine women, on the Plaza.

Espectáculos Itinerantes

El Taller de Lectura de Dramaturgas Latinas, organizado por Carla Pinza y producido por Anita Vélez-Mitchell, presentó obras escritas e interpretadas por mujeres latinas en la Plaza.

Flyer for the 1978 Lincoln Center Out-of-Doors Festival, with event listings from August 15 through September 3 and a cartoon rendering of crowds on the Lincoln Center campus. Lincoln Center for the Performing Arts Archives.

Traveling Shows

Marco Rizo's Latin-American Orchestra performed new versions of Leonard Bernstein's "West Side Story" score in the Guggenheim Bandshell and on the Metropolitan Opera steps.

Espectáculos Itinerantes

La Orquesta Latinoamericana de Marco Rizo interpretó nuevas versiones de la partitura de "West Side Story" de Leonard Bernstein en el Guggenheim Bandshell y en la escalinata del Metropolitan Opera.

The Family, Inc in "The Crucifixion" at the Lincoln Center Out-Of-Doors Festival, 1980. Photo by Susanne Faulkner Stevens, Lincoln Center for the Performing Arts Archives.

Traveling Shows

These acts expanded Lincoln Center beyond the 1950s version of "West Side Story." Lincoln Center transformed.

Espectáculos Itinerantes

Estos espectáculos permitieron al Lincoln Center repensar la versión de "West Side Story" de los años cincuenta. El Lincoln Center se transformó.

The 1972 Community/Street
Theater Festival

The 1972 Community/Street Theater Festival marked the embrace of community theater at Lincoln Center. The spark came from the much smaller Everyman-Community Theater Festival in 1971. Lasting two full weeks, the 1972 event included more than 30 organizations and attracted up to 1,500 guests each day.

Festival Callejero/Comunitario
del Lincoln Center en 1972

En 1972, el Festival de Teatro Callejero/Comunitario marcó la llegada del teatro comunitario al Lincoln Center. La iniciativa surgió en el Festival de Teatro Comunitario Everyman, mucho más pequeño, celebrado en 1971. El evento de 1972, que duró dos semanas enteras, contó con la participación de más de 30 organizaciones y atrajo hasta 1,500 espectadores por día.

The Street Theater Inc. performances at the Lincoln Center Community/Street Theater Festival in 1972 included a play by Miguel Piñero. Photo by Susanne Faulkner Stevens, Lincoln Center for the Performing Arts Archives.
Puerto Rican Traveling Theater performing “The Passion of Antigona Pérez”, Miriam Colón at center. Photo by Susanne Faulkner Stevens, Lincoln Center for the Performing Arts Archives.

The 1972 Community/Street
Theater Festival

The Puerto Rican Traveling Theater appeared on August 24th to perform "The Passion of Antígona Perez." Director Clay Stevenson presented works from his prison writing workshop on August 29, including a piece by a writer named Miguel Piñero. This workshop connected Piñero with mentor Marvin Félix Camillo and started him on the path to professional theater.

Festival Callejero/Comunitario

El Teatro Rodante Puertorriqueño subió al escenario el 24 de agosto con la obra "La pasión según Antígona Pérez". El 29 de agosto, el director Clay Stevenson presentó obras de su taller de escritura en la cárcel, entre las que figuraba una obra de un escritor llamado Miguel Piñero. Este taller conectó a Piñero con su mentor, Marvin Félix Camillo, y marcó el inició de su camino en el teatro profesional.

Members of the Puerto Rican Traveling Theater. Miriam Colón Valle Papers, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.

The Small Stages

Puerto Rican theater in New York existed on small stages for decades before Piñero's breakthrough. But these stages came and went.

Las Pequeñas Escenas

Desde varios años antes de la irrupción de Piñero, ya existía el teatro puertorriqueño en pequeños escenarios de Nueva York. Sin embargo, no había regularidad en estos espacios.

A performance shot of "El Piraguero de Loisaida," by Bimbo Rivas. CHARAS/El Bohio Cultural and Community Center Records, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.

The Small Stages

For many years, cafés, churches and community centers all served as improvised hosts for forms of Puerto Rican theater. But the gran florecimiento following the off-Broadway English language premiere of "The Oxcart" in 1966 led to Puerto Rican artists finding more stable homes for their theater productions.

Las Pequeñas Escenas

Durante muchos años, las cafeterías, las iglesias y los centros comunitarios sirvieron de sedes improvisadas para algunas formas de teatro boricua. Pero el gran florecimiento que siguió al estreno en inglés fuera de Broadway de "The Oxcart" en 1966 hizo que los artistas puertorriqueños encontraran lugares más estables para sus producciones teatrales.

Carla Pinza and Anita Vélez-Mitchell. Anita Vélez-Mitchell Papers, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.

The Small Stages

The creative period known as the "Nuyorican Movement" brought about the establishment of permanent theaters. The Henry Street Settlement opened the New Federal Theatre in "Loisaida" in 1970.

Among other programs, this theater hosted Carla Pinza's Latino Playwrights' Reading Workshop, a supportive bridge for emerging playwrights to stage productions of their writing.

Las Pequeñas Escenas

El período creativo conocido como "Movimiento Nuyorican" propició la creación de teatros permanentes. El Henry Street Settlement inauguró el New Federal Theatre en "Loisaida" en 1970.

Entre otros programas, este teatro acogió el Taller de Lectura de Dramaturgos Latinos de Carla Pinza, un espacio de apoyo para que los dramaturgos emergentes pusieran en escena producciones de sus obras.

Flyer for The Puerto Rican Traveling Theatre - 20th Anniversary. Miriam Colón Valle Papers, Archives of the Puerto Rican Diaspora, Center for Puerto Rican Studies, Hunter College, CUNY.

The Small Stages

In 1981, the Puerto Rican Traveling Theater established an off-Broadway venue on West 47th Street, and performances continue there today.

Las Pequeñas Escenas

En 1981, el Teatro Rodante Puertorriqueño inauguró un espacio fuera de Broadway en West 47th Street, donde aún hoy sigue funcionando.

House program for Short Eyes, by Miguel Piñero, produced by Joseph Papp and directed by Marvin Felix Camillo for the New York Shakespeare Festival at Lincoln Center in 1974. Lincoln Center for the Performing Arts Archives.
1974 performance of Short Eyes, by Miguel Piñero, at the Vivian Beaumont Theater. Lincoln Center for the Performing Arts Archives. - 1974

Center Stage

Joseph Papp brought the New York Shakespeare Festival to Lincoln Center in 1973. In addition to announcing a permanent home for Shakespeare in the Mitzi E. Newhouse Theater, Papp gave contemporary American theater a new home in the larger Vivian Beaumont Theater.

Of the five new plays staged at Lincoln Center in Papp’s inaugural 1973–1974 season, Papp immediately viewed Miguel Piñero’s “Short Eyes,” the last show presented of the run, as the year’s best.

Escenas Centrales

Joseph Papp llevó el Festival Shakespeare en Nueva York al Lincoln Center en 1973. Además de anunciar un hogar permanente para Shakespeare en el Mitzi E. Newhouse Theater, Papp dio al teatro contemporáneo estadounidense un nuevo hogar en el amplio Vivian Beaumont Theater.

De las cinco nuevas obras representadas en el Lincoln Center en la temporada inaugural 1973-1974, Papp calificó “Short Eyes” de Miguel Piñero, el último espectáculo presentado de la temporada, como el mejor del año.

Short Eyes cast photo, 1974, with playwright Miguel Piñero at far left. Photo by Friedman Abeles, Billy Rose Theatre Division, The New York Public Library for the Performing Arts.

Center Stage

Ironically, the original line up for the spring did not include "Short Eyes," and it only fit into the schedule as a replacement for another play.

“You have to take a chance,” Papp told Mel Gussow of The New York Times in March of 1973. “As he has proved in his other work, there are new audiences that can become interested in new kinds of theater,” Gussow wrote.

Escenas Centrales

Irónicamente, "Short Eyes" no figuraba en la programación original de primavera y se incluyó como reemplazo de otra obra.

“A veces hay que arriesgarse”, le comentó Papp a Mel Gussow de The New York Times en marzo de 1973. “Como ha demostrado en sus otros trabajos, hay nuevos públicos que pueden interesarse por nuevos tipos de teatro”, escribió Gussow.

Miguel Piñero and Joseph Papp holding the 1974 New York Drama Critics' Circle Award for "Short Eyes." Photo by Friedman-Abeles, Billy Rose Theatre Division, The New York Public Library for the Performing Arts.

Center Stage

"Short Eyes" won the New York Drama Critics' Circle Award for Best American Play, an Obie Award for Best American Play, and a Tony nomination for Best Play. In 1974, Piñero won the Drama Desk Award for Best New Playwright.

Escenas Centrales

"Short Eyes" ganó el premio del Círculo de Críticos de Teatro de Nueva York a la mejor obra estadounidense, un premio Obie a la mejor obra estadounidense y una nominación al Tony a la mejor obra. En 1974, Piñero ganó el premio Drama Desk al mejor dramaturgo revelación.

PLAN YOUR VISIT

This exhibit is free and open to the public in the west lobby of David Geffen Hall during the Hall's normal hours of operation. Learn more and find accessible text and images here.

PLANIFICAR SU VISITA

Esta exposición es gratuita y está abierta al público en el vestíbulo oeste del David Geffen Hall durante el horario normal de apertura del Hall. Más información y textos e imágenes accesibles aquí.

exhibición curada por
exhibition curated by


Al Bland

diseñado
design

Estúdio gráfico, São Paulo, Brazil

fabricación
fabrication

Unique Visuals NY

traducción española
Spanish translation

GoDiversity.com

coordinación de proyecto
project coordination
Arlene Yu

edición de video
video editing
Arlene Yu
Dorothea Trufelman

agradecimientos a
thanks to

CENTRO
THE CENTER FOR PUERTO RICAN STUDIES
AT HUNTER COLLEGE

Ángel Antonio Ruiz Laboy
Cristina Fontánez Rodriguez
Lindsay Wittwer
Anibal Arocho

JUDITH ESCALONA

DADI PIÑERO

THE NEW YORK PUBLIC LIBRARY

Greg Cram
Patrick Hoffman
Jeremy Megraw
Wendy Norris
Giovanna Pugliese
Annemarie van Roessel

LEONARD BERNSTEIN OFFICE

NUYORICAN POETS CAFE

Caridad de la Luz

THE PUBLIC THEATER

Rachel London

UNIVERSITY OF THE ARTS
Museum Exhibition Planning and Design Program

LINCOLN CENTER FOR THE PERFORMING ARTS
Sydney Arndt
Amelia Bathke
Alexandra Bernet
John Casavant
Sara Chang
Leah Constantine
Eliana Cruz
Maria del Toro
Eleni DeSiervo
Jordan Deveraux
Paloma Estévez
Sammy Garcia-Taliercio, Jr.
Jackie Grice
Dennis Hruska
Suyoung Jang
Paula Jennings
Jenni Klauder
Lauren Klein
Eileen Klomhaus
Shawn Lynch
Ava McAlpin
Lara McDonnell
Matthew McGraw
Desirée Naranjo-Ochoa
Melinda Planey
Rebecca Popp
Deidre Redhead
Danielle Schiffman
Isabel Sinistore
Cameron Surh
Ellen Thornton
Erin Toland
Anna Troester
Melissa Negron Ulto