Alphabetic
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

La amante fascista

Play Information

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

Cast

Paulina Urrutia, Andrés Reyes, Horacio Valdés

Datasheet

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
DIRECCIÓN MUSICAL: 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

Description

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.