Gobierno de la Ciudad de Buenos Aires Festivales de Buenos Aires

La amante fascista

Play Information

Original Title La amante fascista
English Title The fascist lover
Director Víctor Carrasco
Year 2010
Lenght 90 min


  • Paulina Urrutia, Andrés Reyes, Horacio Valdés


  • AUTOR DE LA OBRA: Alejandro Moreno
  • COMPAÑÍA: Fábrica de Sueños
  • DIRECTOR DE LA OBRA: Víctor Carrasco
  • MÚSICA: Álvaro Solar
  • DISEÑO DE ILUMINACIÓN: Fernando Briones
  • DISEÑO DE SONIDO: Álvaro Solar
  • DISEÑO DE ESCENOGRAFÍA: Fernando Briones
  • DISEÑO DE VESTUARIO: Loreto Martínez
  • DISEÑO AUDIOVISUAL: Rodrigo Susarte
  • PRODUCCIÓN: Production Gestacultural Ltda.
  • COLABORACIÓN: Fundación Festival Internacional Teatro a Mil


La amante fascista is an inquiry, involving humor and irony, into the obsessions and desires of a a woman with right-wing views, Iris Cuevas, of 32 years old, who is married to a military man temporarily carrying out maneuvers in Panama. The play unfolds during the woman’s hours of insomnia while she anxiously waits for the arrival of her military lover, Mr. Espina, Commander-in-Chief of the Chilean army. In her sleepless hours, the protagonist describes with ritual precision the actions that will take place during Mr. Espina’s visit. The long-awaited visit includes, as the protagonist tells us, offstage scenes with sadomasochistic undertones in which Iris takes part, as a consequence of her thirst for power. Although the play was conceived by Moreno to function in different contexts, the text refers to the years of Pinochet’s military dictatorship, in regards to both the institutionalized violence and the cultural moment. In this way, the situations of sexual violence that the protagonist narrates are framed as “Playing Office”, alluding to a sketch that was part of the television show “Japening with Ja”, created by the directors and producers that were part of the military-controlled television channels. Besides Urrutia’s remarkable performance as the lover, the staging includes video images showing the geography of the Chilean altiplano where the military base, home of the protagonist, is located. These images are used to split the different scenes of the play, and they create a background against which the live characters are outlined, thus presenting different textures of Chilean-ness in accord with the different realities and obsessions that haunt those on one side or the other. This includes a scene in which the main character suffers a popular rebellion inside her eyes. Moreno’s playwriting weaves different expressive registers and images to tell a story of a fascist lover that accounts for the intense lure of power and the dark side of national identity.


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