Sexual Diversities and the Catholic Church in Alfredo Arias’s Latest Creations (2018/2020)

Abstract

Cross-gender acting is frequently found in Alfredo Arias’s stagings, ever since his mythical version of Copi’s Eva Peron, back in 1970 in Paris. Even transexuality, homosexuality and hermafrodstism are expressive prints in his plays. A political point of view regarding these items spirals up in four of his creations shown lately (2018/20) both in Paris and Buenos Aires. It spans from the sourest questioning of the Church methods, through an integration of religious and cast-away individuals, to a profound insight on the sense of abandonment that can torment certain minority groups.

This article confronts the director’s biographical experiences and the characters in the plays Elle, Divino amore, Happyland and Hermafrodita; it also discusses the traditional Catholic dogma from a dramatic standpoint.