Abstract This essay discusses the contributions of theater director Liuba Cid and Cuban theater company Mephisto Teatro, highlighting the group’s Afro-Caribbean adaptation of Fuenteovejuna (2009). Cid interweaves elements of Cuban culture into Lope de Vega’s baroque verse, incorporating the works of romantic poet José Martí, playwright Virgilio Piñera, and African-inspired religious rituals. More broadly, Cid’s play reflects ongoing social processes of transculturation. The theories of Linda Hutcheon, Diana Taylor, and José Quiroga all elucidate how Mephisto Teatro’s staging transforms Fuenteovejuna into a syncretic work of art that transcends national and regional boundaries as it brings to the fore transnational movements and global struggles involved in efforts to reverse processes of cultural destruction and social inequality.

中文翻译：

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重新思考革命：刘巴席德对富恩特奥维尤纳的非洲裔古巴人改编中的宗教和政治

摘要 本文讨论了戏剧导演刘巴西德和古巴戏剧公司 Mephisto Teatro 的贡献，重点介绍了该集团对 Fuenteovejuna (2009) 的非洲裔加勒比地区改编。Cid 将古巴文化的元素融入 Lope de Vega 的巴洛克诗歌中，融合了浪漫主义诗人何塞·马蒂、剧作家 Virgilio Piñera 的作品以及受非洲启发的宗教仪式。更广泛地说，Cid 的戏剧反映了正在进行的跨文化社会过程。Linda Hutcheon、Diana Taylor 和 José Quiroga 的理论都阐明了 Mephisto Teatro 的舞台如何将 Fuenteovejuna 转变为超越国家和地区界限的融合艺术作品，因为它使跨国运动和全球斗争脱颖而出文化破坏和社会不平等。