Abstract:This article examines the "bad woman" archetype of La Llorona and how it has been used to destabilize patriarchal discourses in Chicana theatre. Chicana feminist playwrights appropriate, subvert, and transform La Llorona in such a way as to create discourses of resistance, deploying the female body as a tool for cultural upheaval and using theater practice as a weapon of sociopolitical resistance. By presenting versions of these malas mujeres that are created outside of the male gaze, playwright Josefina López offers complex portrayals of rigid cultural paradigms that limit the possibilities of Chicana womanhood. After a brief overview of the Llorona myth as it pertains to Chican@ theater, this article uses López's Unconquered Spirits (1995) to explore how the myth of La Llorona has been performed across time and theater spaces. López's play demonstrates how body and performance work in unison to reconfigure cultural paradigms, in this case La Llorona, to shape each character's own re-imagined identities.

中文翻译：

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舞台上的拉洛罗纳（La Llorona）：重新审视何塞菲娜·洛佩斯（JosefinaLópez）的“不败精神”中的奇卡纳文化范例

摘要：本文探讨了拉洛罗纳（La Llorona）的“坏女人”原型，以及如何将其用于破坏奇卡纳剧院的父权制话语。奇卡纳女权主义者编剧适当，颠覆和改造了拉洛罗纳，从而创造了抵抗的话语，将女性的身体部署为文化动荡的工具，并将戏剧实践作为社会政治抵抗的武器。剧作家约瑟芬娜·洛佩兹（JosefinaLópez）通过呈现这些在男性视线之外产生的恶作剧版本，提供了刻板的文化范式的复杂描写，这些范式限制了奇卡纳女性化的可能性。在简要介绍了与Chican @剧院有关的Llorona神话之后，本文使用López' s《不可征服的精神》（1995年），探讨了《拉洛罗纳》的神话在整个时空和剧院空间中的表现。洛佩斯的戏剧展示了身体和表演如何协同工作以重新配置文化范式，在本例中为“劳罗纳”，以塑造每个角色自己重新构想的身份。