This study analyses little-studied plays by Mexican playwrights María Luisa Ocampo and Concepción Sada alongside a work by the better-known Argentine Alfonsina Storni. Written and performed in commercial theatres in the 1920s and ‘30s, all three plays portray female protagonists struggling with accepted social and cultural norms regarding marriage and motherhood. By calling attention to the use of the commercial stage as the locus for representing social issues, particularly the performativity of gender roles, this work aims to show that shifts in gender ideology, and in the theatre milieu itself, are representative of the conflicting ideas on and about women during the transitional period of post-revolutionary Mexico. Moreover, the difficulties involved in the formulation of female subjectivity, as expressed through views on marriage and maternity, are presented as crises not only in Mexico but also within the wider scope of Latin American modernity.

中文翻译：

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在1920年代和30年代的商业舞台上塑造女性的主体性：玛丽亚·路易莎·奥坎波（MaríaLuisa Ocampo），康塞普西翁·萨达（ConcepciónSada）和阿方森娜·斯托尼（Alfonsina Storni）的三部剧

这项研究分析了墨西哥剧作家玛丽亚·路易莎·奥坎波（MaríaLuisa Ocampo）和康塞普西翁·萨达（ConcepciónSada）鲜为研究的戏剧，以及著名的阿根廷人阿方西纳·斯托尼（Alfonsina Storni）的作品。这三部剧本都是在1920年代和30年代在商业剧院里写作和表演的，描绘了女性主角，她们在婚姻和母亲方面正处于公认的社会和文化规范的挣扎之中。通过呼吁人们注意使用商业舞台作为代表社会问题的场所，尤其是性别角色的表演性，这项工作旨在表明性别意识形态的变化以及戏剧环境本身，是对冲突思想的代表。关于革命后的墨西哥过渡时期的妇女。此外，在制定女性主观性方面遇到的困难，