Diverse stage elements serve as tools to reveal specific parts of the poem, through a ‘striptease,’ or an autopsy that helps to understand the beauty of Sor Juana’s words. As a tribute, Jesusa Rodríguez uses theater to transmit the greatest poem of one of the greatest Mexican poets, and to make it visible and accessible to everyone. El poema Hombres necios que acusáis, de sor Juana Inés de la Cruz, expone la desigualdad y la injusticia de los cuales es víctima la mujer a través del machismo y la discriminación femenina. For Jesusa Rodríguez, Sor Juana’s poetry is both a-temporal and contemporary, and a source of inspiration and wisdom to keep working on acts of resistance. This intense relationship with the poem helped her to survive in the everyday world, to strengthen her political struggle, and to fight oblivion. A través de una serie de enmascaramientos alegóricos y alusiones. She is linked through memory, history, and feminist statements with her contemporary counterpart, Jesusa Rodríguez, who memorized the almost 1,000 verses of the poem as a part of a creative process that allowed her not only to develop a profound interpretation of its contents, but also a fully bodily internalization experience. La 'Loa para El divino Narciso,' de sor Juana Inés de la Cruz, se sitúa en el contexto retórico, semiótico e ideológico del teatro oficial colonial, que tiene una clara función propagandística como transmisor del dogma político y religioso. In this interview, Jesusa Rodríguez talks about Sor Juana Inés de la Cruz and her poem ‘Primero Sueño’ (‘First Dream’), a baroque work of art that condenses the genius of the 17th-century Mexican nun. Interview with Jesusa Rodríguez, conducted by Diana Taylor, founding director of the Hemispheric Institute of Performance and Politics.
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