ABSTRACT
The Afterword moves the conversation about accentism forward into the larger disciplines of Sound and Aurality Studies. Using the field of Latinx Shakespeares to provide examples of dramaturgical strategies for performing Latinx identity, it addresses how non-native and bilingual speakers adjust accents for characterization in multiple languages. It also demonstrates how attending to the aural complicates ethnic and racial categories, whether by challenging or reinforcing stereotypes, as well as contends that although vocal methods have been largely developed by women, standardized accents are made famous by men, suggesting that the gendered aspect of vocality has informed its secondary status to the visual of theatre. Connections are made across the collection's essays, suggesting that the nascent field of accentism studies has much to contribute to expanding the nuances of identity construction both on and offstage.
