This book examines how violence was used as a spectacle in Cuban and Argentine theater in the late 1960s and early 1970s as a reflection of and a dialogue with the violence occurring in the public arena. Using the international affair of the Caso Padilla as a way to appreciate how the notion of revolutionary spectacle pertains to culture, Ford deftly examines the use of violence in four plays from Cuba and Argentina to understand how simulated violence was used as a tool to address the very real violence that was taking place offstage.