Puerto Rican writer and mobilizer, Luisa Capetilla was the first true Latin American feminist and advocate. In the effort to elaborate on this, Sor Juana Inés de la Cruz had begun to question the feminine constructs that society placed but Capetilla mobilized laborers to strike in protest, proving to the male workers that the fight for women’s equal rights affected them as well (Townsend 137). This is presented greatly in her theatrical play of After Death for the interaction between the characters of Mauly and Lelia prove that this female objectification exists for the woman to serve the man (Capetillo 142). However, Lelia is strong-willed, out-spoken and shoots Mauly down for his transgressions and to admit fault- a more direct call to action and a huge risk to place in a play during the late 1800’s.Capetillo decided against specifying the action directly with the setting, as the other plays  had, and simply described it as “in the tropics, in a Caribbean city” (Capetillo 141), the emphasis placed more on the occurrences provides that ideology that lack of femininity doesn’t need a location. In the last play discussed, Juan Moreira, it was imperative for the audience to be aware of the setting for the gaucho was of cultural Argentine importance and displayed a direct relationship to the actions that occurred. In de la Cruz’s, The Loa for the Auto Sacramental of the Divine Narcissus, the stage directions provide background information of the characters themselves their connection with theology and the myths. In contrast, Capetilla decides to have the interaction between the characters as they go along divulge that information themselves. 

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