In the context of historical revisionism that characterized Latin American theater in
the last two decades of the twentieth century, Milton Schinca wrote Madame Lynch (1989).
This essay looks at two political readings of Lynch’s marginality in Paraguayan society, and
of her relationship to power as a way of highlighting social constructs. It does so by analyzing
the deliberate emphasis of the material conditions of Elisa Lynch, the function of her body,
her use of visual and linguistic signs, the tension between power and marginality, and how
monologues work as an attempt to deconstruct the patriarchal view of Madame Paraguay.
This leads to a reading of the playtext as an attempt to reconsider Uruguay’s responsibility in
the War of Paraguay (1865-1870). (AGR, Article in Spanish
