Abstract:In Angie Cervantes’s Ley seca (2007), seventeen-year-old Eva faces loneliness and social pressure as she seeks an illegal abortion. The play’s setting during Holy Week and use of the Stations of the Cross as its structural framework call attention to the ways in which the weight of the Catholic Church’s moral teachings and their influence on the legal regulation of reproductive rights in contemporary Costa Rica create obstacles for women. While Eva searches for help, she suffers the ordeal of her own Stations of the Cross, which parallel the Catholic devotion. Her agony increases as she finds her options limited by the binary relation of gender associated with compulsory heterosexuality. This article uses Judith Butler’s theory of gender as performatively constructed to examine how the dramatist subverts and dismantles the binaries linking rationality to men and nurturing roles to women. The voice-over of a thirty-year-old pregnant Eva combines with the interactions of teenage Eva with other characters to critique compulsory heterosexuality as the ideal family model in Costa Rica and propose alternative configurations of the family and accompanying gender roles.

中文翻译：

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莱伊·塞卡（Ley seca），安吉·塞万提斯（Angie Cervantes）：哥斯达黎加少女的苦难

摘要：在安吉·塞万提斯（Angie Cervantes）的Ley seca（2007）中，十七岁的伊娃（Eva）在寻求非法堕胎时面临着孤独和社会压力。该剧在圣周期间的设置以及使用十字架的站台作为其结构框架，引起人们的注意，即天主教的道德教义及其对当代哥斯达黎加生殖权利的法律调节的影响如何为该种障碍提供障碍。女性。在伊娃寻求帮助的同时，她遭受了自己的十字架十字架的折磨，这与天主教徒的奉献精神是平行的。当她发现自己的选择受到与强制性异性恋相关的性别的二元关系的限制时，她的痛苦增加了。本文以朱迪思·巴特勒的性别理论为基础，以戏剧性的方式研究了戏剧家如何颠覆和消除将理性与男性联系起来以及赋予女性角色的二元关系。一个三十岁的怀孕伊娃的画外音，再加上十几岁的伊娃与其他角色的互动，将强制性异性恋批评为哥斯达黎加的理想家庭模式，并提出了家庭的替代配置和伴随的性别角色。