Lucía Garavito joined the Department of Modern Languages at KSU in 1986 with a Ph.D. in Spanish from the University of Kansas. While at KSU she has taught a wide range of subjects at the graduate and undergraduate levels. In addition to survey and introductory courses, she has developed seminars in the area of Spanish-American literature (drama, poetry, short-story, literature and human rights, women writers and other topics), culture (popular culture and Hispanic World Today) and film. She has received three University Teaching Awards at KSU.
Dr. Garavito’s professional interests in the field of Spanish America focus on contemporary Spanish-American theater, in general, and on women writers and playwrights, in particular. She has followed very closely the theory and practice ofcreación colectiva as formulated by Santiago García and the Teatro La Candelaria from Bogota and has published various articles on their contribution to the development of a national dramaturgy. She also has written on plays by Albalucía Angel, Fanny Buitrago, Beatriz Camargo and Luis Alberto García (Colombia), Lucía Laragione (Argentina), Marco Antonio de la Parra (Chile), and Mario Vargas-Llosa, among others. In the area of narrative, the particular challenges facing Colombia throughout its history such as political violence, social exclusion, gender inequality, narco trafficking and sicariato have provided the context to her approach to works by Marvel Moreno, Fernando Vallejo and Jorge Franco. Garavito’s main projects at this time involve a study of Albalucía Angel and Lucía Laragione’s dramaturgy and a monograph on archetypal representations of the feminine in Spanish-American narrative, theater and film.
Her teaching and research have benefitted from her participation in various programs developed by the National Endowment for the Humanities (Images of Amazonia, Hispanic Gendering of the Americas), the Fulbright (South America Today and Street Performance in Peru) and the C.G. Jung Institute in Kusnacht, Switzerland (Summer Intensive Study Program). She keeps in close contact with theater developments in Latin America by attending events such as the Festival Iberoamericano de Teatro de Bogotá, the Festival Alternativo de Teatro de Bogotá, in-house and street theater performances, oral story-telling festivals and conferences in Argentina, Colombia, Mexico, Peru, Portugal, Puerto Rico and Spain.
“Figuras femeninas en La Virgen de los Sicarios de Fernando Vallejo y Rosario Tijeras de Jorge Franco”. Inti: Revista de Literatura Hispánica (forthcoming in 2008).
“Cocinando con Elisa de Lucía Laragione: ingredientes a la Grimm en una caldera argentina”. Latin American Theatre Review. 38/2 (2005): 5-22.
“Santiago García: His Life and Work at La Candelaria”. Dictionary of Literary Biography: Latin American Dramatists, Vol 305. Farmington Hills: Thomson Gale, 2005. 167-183.
“VIII Festival Iberoamericano de Teatro de Bogotá.” Latin American Theatre Review 36/1 (2002): 156-172.
“Representación y justicia en Manda patibularia de Santiago García.” Latin American Theatre Review 34/2 (2001): 5-19.
“El teatro colombiano: caleidoscopio de nuevos rostros, nuevas voces.” Latin American Theatre Review 34/1 (2000): 67-78.
“¡Aquí no ha pasado nada!: narcotráfico, corrupción y violencia en Golpe de suerte y El paso de La Candelaria.” Latin American Theatre Review 30/2 (1997): 73-88.
“Dramaturgia e ideología en Siete lunas y un espejo de Albalucía Angel.” Gestos 23 (1997): 85-96.
“Ideología y estrategias narrativas en Algo tan feo en la vida de una señora bien de Marvel Moreno” in Literatura y diferencia. Escritoras colombianas del siglo XX, M. Jaramillo, B. Osorio y A. Robledo, eds. Santafé de Bogotá: Ediciones Uniandes, Medellín: Universidad de Antioquia, 1995. 399-421.
“Popular Culture and Dramatic Competency in Matatangos by Marco Antonio de la Parra” in The Theatre of Marco Antonio de la Parra: Translations and Commentary, Charles P. Thomas, ed. New York: Peter Lang Publishing, 1995. 307-323.