Discussed the academic gaps in contemporary Latino American drama research, pointing out that academia has overemphasized white and African American writers while neglecting Latino groups; analyzed the development of this dramatic tradition since the 18th century and its practical significance, emphasizing the importance of dramatic creation against the backdrop of Latino population growth and tightening immigration policies; explored the political, racial, and bodily dimensions of cross-border practices at the U.S.-Mexico border, as well as the survival dilemmas and identity claims of Latino immigrants in the process of crossing boundaries.

Political Boundaries: Reasons and Practices of Border Crossing

The cross-border writing of the U.S.-Mexico political boundary in contemporary Latino American drama, analyzing the three major motivations for characters crossing boundaries and the dialectical relationship between cross-border practices and boundary consolidation. Regarding reasons for crossing borders, first, fleeing war and poverty in Latin America to pursue the "American Dream," as in *Just María or The American Dream* where a Cuban family seeks livelihood in the U.S., while immigrant remittances objectively alleviate pressure on home country governments; second, evading sovereign accountability by utilizing the "exceptional space" characteristics of the border to resist cultural and legal orders, as in *Faith* where strikers flee to Mexico and *Lydia* where homosexuals escape prejudice; third, pursuing exotic entertainment experiences, such as Americans traveling to Mexico for alcohol during Prohibition and the subsequent fascination with Mexican culture following tourism's rise. Regarding cross-border practices, drama presents immigrants facing dual threats from border patrol apprehension and extreme desert environments, as well as the contradictions in U.S. immigration policy—needing cheap labor while threatening deportation. Meanwhile, sovereigns consolidate boundaries through fumigation inspections, media sensationalism of "contamination" fears, and physical boundary reinforcement, such as the humiliating entry procedures in *Watsonville* and the critique of wall-building politics in *Native Gardens* and *Building the Wall*. These writings reveal that boundary control essentially serves domestic anti-Latino prejudice, manufacturing an emotional economy of "us/them" binary opposition, while *Native Gardens* attempts a solution transcending boundary paranoia through its ending of neighborly reconciliation and fence suspension.

Racial Boundaries: Skin Color, Culture, and Internal Boundaries

Explored the multiple racial boundaries and dilemmas faced by Latino immigrants. First, skin color boundary serves as the most intuitive distinguishing standard, subjecting Latino immigrants to dual pressures of inferiority and discrimination—American nativists degrade their identity through skin color, while the 2010 SB1070 Act institutionalized color-based suspicion; the police questioning of Latinos due to dark skin in *Detained in the Desert* and the satirical plot where nativist Lou is painted dark-skinned reveal how color politics incites hatred and forms vicious cycles. Second, cultural boundaries stand between Latino and white lifestyles, with some immigrants deliberately pursuing white culture to detach from their own identity, such as Rigo in *A Shadow of a Man* wanting to marry a white woman to prove his worth, and Juan in *Flesh and the Devil* viewing white women as a "path to salvation," though the plays suggest such forced crossing leads to cultural lose-lose outcomes. Furthermore, boundaries also form within the Latino community: Mexicans condemn Mexican Americans for "diluting" cultural roots, while successful immigrants view undocumented immigrants as threats, fearing they destabilize communities or steal jobs; Officer Gomez's transformation in *Pain of the Macho* both embodies the awakening of ethnic solidarity and exposes the limitations of racially-based right-and-wrong divisions. Finally, the chapter proposes solutions: for cultural concept conflicts, balance can be achieved through creative collaboration, as in *Botánica* where technology preserves traditional knowledge; for internal boundaries, awakening identification with shared cultural roots is needed, as in *Watsonville*'s call for unity.

Bodily Boundaries: Gender, Conflict, and Dilemmas

Explored how contemporary Latino American drama uses bodily boundary narratives to refer to macro-level political and racial boundaries, revealing the multiple dilemmas of Latino immigrants within gender structures. First, at the level of sexual orientation, mainstream American gender norms view same-sex intimacy as damaging to masculinity and a disease threat, thus Latino homosexuals face dual stigma—seen as carriers of physical disease and questioned in their masculinity. Plays such as *Blade and the Heat* and *Three Hombres* refute the necessary connection between sexual orientation and masculinity through Pedro's victory and Lalo's endurance, showing that true masculinity lies in the ability to provide for family. *Lydia* and *The Hungry Woman* further connect gender narratives with socio-political boundaries, presenting the marginal situation of Latino homosexuals relocating to border areas due to discrimination, with the latter additionally exposing the gender order and conflict dilemmas faced by lesbian women. Muñoz's observations are cited to contrast the different situations of white queers and Latino queers: the former challenge gender norms without departing from white cultural roots, while the latter fall into more embarrassing double marginalization, with José's tragedy in *Trash* exemplifying this structural violence—Latino homosexuals are constructed as passive, subsidiary "another man's man." Second, illegal body transactions as another form of boundary practice simultaneously contain dual transgressions of same-sex orientation and sex work. *Salt* comprehensively presents male sex work, pedophilia, and incest through Lucía's self-harm and Guadalupe's sexual services, criticizing white discrimination against Latino immigrants while exposing the latter's gender and survival dilemmas; Belén's story in the play metaphorically represents Latino world's self-sufficiency and hidden expectations for a better life. The third form is sexual violence; the plot in *When Nature Calls* where white Americans cross to Mexico to commit violence and safely return simultaneously presents triple crossings of bodily, political, and racial boundaries, revealing the unequal power structure between whites and Latinos. Finally, Leticia's redefinition of sexual value in *A Shadow of a Man* provides insight for escaping dilemmas—Latino women's affirmation and calling of self-worth. Showalter and Kristeva's theories are used to critique the logic of boundary control, pointing out that the vicious cycle between anti-immigration policies and immigrant groups stems from lack of mutual recognition, while the value of contemporary Latino American drama lies precisely in exposing this unequal state between outsiders and locals.