Puerto Rican writer and mobilizer,
Luisa Capetilla was the first true Latin American feminist and advocate. In the
effort to elaborate on this, Sor Juana Inés de la Cruz had begun to question the
feminine constructs that society placed but Capetilla mobilized laborers to
strike in protest, proving to the male workers that the fight for women’s equal
rights affected them as well (Townsend 137). This is presented greatly in her
theatrical play of After Death for
the interaction between the characters of Mauly and Lelia prove that this
female objectification exists for the woman to serve the man (Capetillo 142). However,
Lelia is strong-willed, out-spoken and shoots Mauly down for his transgressions
and to admit fault- a more direct call to action and a huge risk to place in a
play during the late 1800’s.

Capetillo decided against specifying the action
directly with the setting, as the other plays  had, and simply described it as “in the
tropics, in a Caribbean city” (Capetillo 141), the emphasis placed more on the
occurrences provides that ideology that lack of femininity doesn’t need a location.

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In the last play discussed, Juan Moreira,
it was imperative for the audience to be aware of the setting for the gaucho
was of cultural Argentine importance and displayed a direct relationship to the
actions that occurred. In de la Cruz’s, The
Loa for the Auto Sacramental of the Divine Narcissus, the stage directions
provide background information of the characters themselves their connection with
theology and the myths. In contrast, Capetilla decides to have the interaction
between the characters as they go along divulge that information themselves.