Universidad de La Habana - Departamento de Actividades Culturales (cover designer: Víctor Piñeiro, editor: Grisell Remigio Hdez., author: Ileana Diéguez Caballero), "Movilidad del Tema Marginal en el Teatro Cubano," 1985. Offset print, book.

Víctor Piñeiro's cover design for "Movilidad del Tema Marginal en el Teatro Cubano" creates a powerful visual metaphor for the book's examination of marginalized themes in Cuban theater. The composition features a high-contrast black and white photograph of what appears to be a classical building (likely Havana's iconic Capitol building), overlaid with a bold red circle and horizontal black stripes that evoke both censorship and framing devices. The red circle—reminiscent of prohibition symbols—ironically highlights rather than obscures the date "13 DE MARZO" visible on the building, creating a dialogue between visibility and erasure, center and margin. The modernist geometric elements contrasting with the documentary photograph suggest the analytical lens through which Diéguez Caballero examines theatrical representation of marginality.

Ileana Diéguez Caballero (born Las Tunas, 1961) graduated from the Instituto Superior de Arte (ISA) in 1983 with a degree in theater studies. This book, which won the 1984 essay prize in the prestigious Concurso 13 de Marzo competition, represents important early scholarship on marginalized subjects in Cuban theater. The jury—composed of Basilia Papastamatiu, Pedro Rioseco, and Fernando Rodríguez Sosa—recognized the work's rigorous academic approach and critical engagement with contemporary theatrical discourse. Diéguez Caballero has contributed to numerous Cuban publications including Conjunto, Bohemia, Cine cubano, Tablas, Caimán Barbudo, and the newspaper Guerrillero de Pinar del Río.

The book analyzes how Cuban theater represents marginal themes and populations, examining works like Carlos Felipe's cultura de resistencia, the social tragedy of María Antonia, and pieces by José R. Brene and Abraham Rodríguez that explore self-marginalization and popular culture revalorization. Published by the Departamento de Actividades Culturales of the Universidad de La Habana in 1985, this scholarly work emerged during a crucial period of Cuban theatrical experimentation when questions of representation, marginality, and cultural identity were being actively debated. Piñeiro's cover design—with its interplay of documentation and abstraction, visibility and censorship—perfectly encapsulates the book's exploration of how theater makes visible those subjects and themes that exist at society's margins.