This essay considers how commonly held stereotypes associated with Latina bodies influence student readings of scripts that exploit, perpetuate, or interrogate the myth that “real women have curves.” Learned impulses to become visible or to classify the Other introduce strong anxieties of leaving the Latina body unmarked, but championing curves as “real” interprets excess as visibility, costuming Latinas in consumable flesh while thinner, less curvaceous bodies appear culturally compromised, disregarded, or disembodied. That curves make a woman “real” promotes an imagined, intermediate body that becomes easily marked between two binaries: spectrums of Latina bodies become singular, situated, and simplified, (mis)perceived as not black or white but brown, not fat nor thin but curvy. Playwrights, performers, and professors must collectively shift the Latina body learning curve(s) by un-learning the pseudo-feminist “real women have curves” myth with impressionable college students.

中文翻译：

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（a）学习曲线：剥夺“真正”女人的神话

本文考虑了与拉丁裔身体相关的普遍定型观念如何影响学生对剧本的阅读，这些剧本利用，延续或审视了“真正的女人有曲线”的神话。习以为常的冲动变得可见或被分类，“其他”引入了强烈的焦虑感，使拉丁裔没有留下任何痕迹，但拥护曲线为“真实”将多余的部分解释为可见性，使拉丁裔穿着易消耗的肉，而较薄，弯曲度较小的身体似乎在文化上受到损害，无视或无形。这些曲线使女人“真实”地提升了一个想象中的中间身体，该中间身体很容易在两个二进制文件之间进行标记：拉美裔身体的频谱变得单一，处在和简化了（错误），感觉不是黑色或白色，而是棕色，既不胖也不瘦但弯曲 剧作家，表演者，