Esperando a Godot.

'Remark that I might just as well have been in his shoes and he in mine. If chance had not willed otherwise': Pozzo's line from Samuel Beckett's 'Waiting for Godot' gives the audience clues through which to decipher the coordinates of Rosa Luisa Márquez rendition of this Theater of the Absurd masterpiece. Adapted to the Puerto Rican reality, this play places the audience onstage, witnessing the games, confrontations and exchanges between homeless characters that unfold, double, repeat and change hats under a tree made up of recycled materials and junk, haunted by a an eerie sea of empty theater seats, torn between hope and despair waiting. Rosa Luisa Márquez (www.marquezmartorell.org) is a Puerto Rican theater artist and pedagogue. Founding member of the theater group Anamú in 1971, she holds a Master's degree from New York University and a Doctorate from Michigan State University; she specializes in contemporary theater. Rosa Luisa started her teaching career at the Theater department of the University of Puerto Rico in 1978. She developed the current curriculum of Drama Activities, which she teaches in her workshops at schools, prisons, rehab centers, women's shelters, nursing homes and community centers. Her directing projects include 'Romeo(s) y Julieta(s), ' 'Historias para ser Contadas, ' 'La Leyenda del Cemí, ' 'Procesión, ' 'Waiting for Godot, ' 'Jardín de Pulpos, ' 'Absurdos en Soledad, ' 'El León y la Joya, ' among others. In conjunction with Puerto Rican visual artist Antonio Martorell, she created the concept of Itinerant Performers (1987-1990) resulting in twelve productions. Published books include 'Brincos y saltos: el juego como disciplina teatral' and 'Historias para ser contadas, montaje de Rosa Luisa Márquez.' She is a member of the board of directors and pedagogical team for the EITALC's International School of Latin American and Caribbean Theater. Ongoing artistic collaborators include Gilda Navarra and Antonio Martorell (Puerto Rico), Grupo Malayerba (Ecuador), Grupo Yuyachkani (Peru), and directors Peter Shumann (Bread & Puppet Theater, U.S.A.) and Augusto Boal (Theater of the Oppressed, Brazil). Hemispheric Institute of Performance and Politics