Abstract:

Maids have been an important source of inspiration for the Latin American lettered elite, who havecrafted these characters not only to promote negative stereotypes about working women (often associating them with theft, dirt, prostitution, or treason), but alsotospeakabout the popular classes from the point of view of the so-called intellectuals. This article studies Las arpías (1981), Colombian José Manuel Freidel’s adaptation of Jean Genet’s The Maids, exploring his deliberate use of the maidas a rhetorical device. WhileFreidel’s versionconstructs aworking-classcharacter often associated with a type of theatre that promotes social critique, it is still part of abody of dramatic workthat ultimately dehumanizes working women. I examine Las arpías as a critique of the cultural tradition that seizes the voice of the “people” and argue thatthis work allows us to rethink Diana Taylor’s concept of “theater of crisis” to decolonize the ways of representing members of marginalized communities.

摘要：

女仆一直是拉美文人精英的重要灵感来源，她们塑造这些角色不仅是为了宣扬对职业女性的负面刻板印象（通常将她们与盗窃、肮脏、卖淫或叛国罪联系在一起），而且还用来谈论来自美国的流行阶层。所谓知识分子的观点。本文研究Las arpías (1981)，哥伦比亚人 José Manuel Freidel 对 Jean Genet 的The Maids的改编，探讨了他故意使用 maidas 作为修辞手段。虽然弗赖德尔的版本构建了一个工人阶级的角色，通常与一种促进社会批判的戏剧相关联，但它仍然是最终使职业女性失去人性的戏剧作品的一部分。我检查Las arpías作为对抓住“人民”声音的文化传统的批判，并认为这项工作使我们能够重新思考戴安娜·泰勒的“危机剧场”概念，以非殖民化代表边缘化社区成员的方式。