Puerto Rican writer and mobilizer,Luisa Capetilla was the first true Latin American feminist and advocate.

In theeffort to elaborate on this, Sor Juana Inés de la Cruz had begun to question thefeminine constructs that society placed but Capetilla mobilized laborers tostrike in protest, proving to the male workers that the fight for women’s equalrights affected them as well (Townsend 137). This is presented greatly in hertheatrical play of After Death forthe interaction between the characters of Mauly and Lelia prove that thisfemale objectification exists for the woman to serve the man (Capetillo 142). However,Lelia is strong-willed, out-spoken and shoots Mauly down for his transgressionsand to admit fault- a more direct call to action and a huge risk to place in aplay during the late 1800’s. Capetillo decided against specifying the actiondirectly with the setting, as the other plays  had, and simply described it as “in thetropics, in a Caribbean city” (Capetillo 141), the emphasis placed more on theoccurrences 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 gauchowas of cultural Argentine importance and displayed a direct relationship to theactions that occurred. In de la Cruz’s, TheLoa for the Auto Sacramental of the Divine Narcissus, the stage directionsprovide background information of the characters themselves their connection withtheology and the myths. In contrast, Capetilla decides to have the interactionbetween the characters as they go along divulge that information themselves.