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Jimena Ortuzar

Headshot of Jimena Ortuzar

Jimena Ortuzar

Visiting SSHRC Postdoctoral Fellow


  • PhD Drama, Theatre and Performance Studies; Diaspora and Transnational Studies
  • MA Performance Studies
  • BA Cinema Studies; Visual Studies


Jimena Ortuzar is a SSHRC Postdoctoral Fellow at Ryerson University’s School of Performance. She recently completed a PhD at the University of Toronto’s Centre for Drama, Theatre and Performance Studies with a collaborative program at the Centre for Diaspora and Transnational Studies.

Her research explores the intersection of labour, gender, and performance under late capitalism and her dissertation examines how labour associated with the reproductive sphere—labour historically consigned to women—is politicized or made visible through aesthetic and social practices.

Her postdoctoral research, under the supervision of Professor Natalie Alvarez, turns to specific legacies of women’s labour in Canada and Latin America through cases of women’s grassroots activism in the 1970s and 1980s that refused reproductive work as well as cases that relied on such labour to resist political repression and survive conditions of austerity.

Her research contributions explore a wide range of social issues through the lens of performance including transnational migration, affective labour, digital culture, urban activism, feminist art, visual studies, and Latinx theatre.

Her writing appears in national and international journals as well as edited collections and anthologies. She is also a contributor to Gatherings: Archival and Oral Histories of Canadian Performance, a project for the preservation and study of performance histories in Canada.

  • Critical theory
  • Performance theory
  • Feminist performance and theory
  • Gendered labour
  • Social reproduction
  • Latinx art
  • Theatre and performance
  • Migration and mobilization

(forthcoming) “Quiara Hudes’s Water by the Spoonful and the Dramaturgy of Free Jazz,” coauthored with N. Alvarez. In P. Farfan & L. Ferris (Eds.), Contemporary Women Playwrights (Second Volume). Palgrave MacMillan.

(2019). “‘After the revolution, who’s going to pick up the garbage on Monday morning?’ Cartoneros and Sanmen in the Age of Financial Crises.” In N. Alvarez, K. Zaiontz & C. Lauzon (Eds.), Sustainable Tools for Precarious Times: Performance Actions in the Americas (pp.123-147). Palgrave Macmillan.

(2019). “Felicitous Undoings: A decolonizing gesture while ‘Waking Our Way Here.” In J. Cole & S. Johnson (Eds.) Gatherings (pp. 17-19; pp. 47-48). Jackson’s Creek Press.

(2019). “Rise Up Against Racism: Black Canadians and D.W. Griffith’s The Birth of A Nation.” Gatherings: Archival and Oral Histories of Canadian Performance. Gatherings Partnership,, external link

(2018). “Performing the ‘Foreign Maid’ in the Global Market.” TDR/The Drama Review 62, 1(T237), 98-112.

(2018). “Home Away from Home: Pop-Up Dwellings for a Transient World.” Canadian Theatre Review 176, Online Feature.

(2015). “Performance and Human Rights in the Americas.” Journal Issue, co-edited with N. Alvarez and S. Kovacs. Canadian Theatre Review, 161.

(2015). “Performance and Human Rights in the Americas,” Introduction, coauthored with N. Alvarez & S. Kovacs. Canadian Theatre Review 161, 5-8.

(2015). “¡No Más! Actions/Acciones Against Femicide in the Americas,” coauthored with N. Alvarez and S. Kovacs. Canadian Theatre Review 161, Online Feature.

(2015). “Camilla Singh: Uniforms for Non-Uniform Work.” Journal of Curatorial Studies 4(1), 174-177.

(2014). “Aluna Theatre: Building Pan-American Communities.” Canadian Theatre Review 157, 64-67.

(2013). “Performing Imaginary Homelands.” In N. Alvarez (Ed.), Latina/o Canadian Theatre and Performance (pp. 223-245). Playwrights Canada Press.

(2013). “Introduction to Victor Gomez’s Lizardboy.” In N. Alvarez (Ed.) Anthology of Latina/o-Canadian Plays (pp. 402-408). Playwrights Canada Press.

(2013). “Off the Beaten Track: Towards Ground-making Encounters Along Panamerican Routes.” 10(2), 10-15.

(2009). “Parkour or l'art du déplacement: A Kinetic Urban Utopia.” TDR/The Drama Review 53, 3(T203), 54–66.