Abstract Despite his prodigious output, the work of the Mexican dramaturge, playwright, and director Héctor Mendoza has been little studied academically. Those who have examined his works have dismissed his adaptations as merely playing with staging techniques while attempting to remain true to the adapted works’ “essence.” However, a close examination of one of these adaptations, La dama boba (1981), reveals that Mendoza draws on Spanish Golden Age theater to comment on contemporary issues facing Mexican theater and masculinity. In this paper, I engage with Richard Hornby's varieties of “metadrama” and Judith Butler's notions of gender performativity and citationality to argue that Mendoza employs metatheatrical techniques in order to contribute simultaneously to a postmodern questioning of the notion of the “author” and a destabilization and dismissal of the hegemonic Mexican masculine ideal of the macho.

中文翻译：

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摇摇欲坠的墙壁，摇摇欲坠的角色：Héctor Mendoza 的 La dama boba (1981) 中的元戏剧性和性别表演性

摘要 尽管墨西哥戏剧家、剧作家和导演埃克托·门多萨 (Héctor Mendoza) 的作品取得了巨大的成就，但在学术上却鲜有研究。那些看过他作品的人都认为他的改编只是在玩舞台技巧，同时试图保持改编作品的“本质”。然而，对其中一部改编作品 La dama boba (1981) 的仔细研究表明，门多萨利用西班牙黄金时代的戏剧来评论墨西哥戏剧和男子气概面临的当代问题。在本文中，我与理查德·霍恩比 (Richard Hornby) 的各种“元戏剧”和朱迪思·巴特勒 (Judith Butler)