Country Chile

Discipline Theater

Audience Adults

Recomended for +16

Duration 70 minutes

Language Spanish

Dates January 3, 4 and 5, 19.00h

An absolute must-see

El Mostrador

Los arrepentidos is based on a true story about two men who transitioned to being female, undergoing reassignment surgery decades ago to become Isadora and Mikaela but later – as the title says – coming to regret it. Both characters talk for the first time about their transsexuality, the changes they underwent, the way they’ve created their identities and the reasons they decided to revert their decision. Using the text by Swedish playwright Marcus Lindeen, director Víctor Carrasco – creator of the acclaimed play La amante fascista – stages a moving conversation, in which the characters question both the gender roles they play in private and in public and the social, cultural and historical constructions based on them. Reuniting Rodrigo Pérez and Alfredo Castro first time in 15 years, Los arrepentidos goes beyond transsexuality and the dilemma involving gender to talk about searching as a constant fixture in humankind - for love, solitude, of the evolution of two bodies in transition and, above all, for the construction of identity.

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Direction

Víctor Carrasco

(Chile, 1964)

Actor, theater director and television scriptwriter. He made his debut as a theater director in 1994 with De noche justo antes de los bosques, after which came plays such as Hedda Gabler (2006) by Henrik Ibsen; Las tres hermanas (2009) by Chekhov and the acclaimed piece La amante fascista (2010). He has also written scripts for successful Chilean television soaps such as La Fiera (1999), Pampa Ilusión (2001), El circo de las Montini (2002) and Los Pincheira (2004).

Dramaturgy

Marcus Lindeen

(Sweden, 1980)

Artist, writer and director. He studied as a director at the University College of Film, Radio, Television and Theatre in Stockholm, making his debut with the play Regretters about two Swedish men who changed sex twice and which was later adapted into a documentary filmed by Lindeen himself. The play was translated into several different languages and the film won numerous awards, including the Prix Europa for best European documentary in 2010. He won the Swedish Academy Award (Guldbagge) and the Kristallen (the Swedish equivalent to an Emmy) for best documentary film in 2011 for Los arrepentidos. As well as showing at countless festivals, the film was also put on at the MoMA in New York and the National Center for Contemporary Art in Moscow.

Written by Marcus Lindeen | Translated by Constanza Brieba | Director and space designer Víctor Carrasco | Assistant director David Gaete | Cast Alfredo Castro and Rodrigo Pérez | Lighting designer Andrés Poirot | Audiovisual designers Javier Pañella and Nicole Senerman | Sound designer Daniel Marabolí | Musical score Fernando Milagros and Diego Perinetti | Executive producer Bárbara Nash

  • Víctor Carrasco is one of the heavyweights on the Chilean theater scene. As well as other plays, he has directed La amante fascista, one of the most acclaimed productions of late, which was shown at Santiago a Mil in 2011 and 2012 and considered by writer and theater critic Alejandra Costamagna as “the best play about the dictatorship”.

  • Los arrepentidos reunites two of the most outstanding and important actors in Chile: Alfredo Castro and Rodrigo Pérez, who worked together in the legendary company Teatro La Memoria and who have already tackled identity and gender in La Manzana de Adán (1989), where they played brothers and in the Chilean version of Eva Perón (2001) by Argentine author Copi. Their performances were one of the things most praised by critics, with them being referred to as “two of the best theater actors and artists in Chile”.

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  • This play considers identity as an ongoing transition, which is why it tackles the topic of freedom of choice. “No one can force us to be something we’re not, except through state coercion”, explains Víctor Carrasco.

  • Los arrepentidos is based on the true story of Mikael and Orlando, two Swedes who were born men and changed sex. With the sixties over, they met up to talk about their lives and about the regret they feel about the route they chose. Mikael had an operation in the mid-nineties when he was 50 and Orlando was one of the first sex-change patients in Sweden in 1967. In this piece, real photos of both men are projected while the actors tell their stories.

  • This production is an open-minded approach to gender identity, as Jorge Díaz, an activist from the University Group of Sexual Dissidents (CUD), explained in El Desconcierto. “Sexuality is flexible and not something final. It molds our bodies and is a place for ongoing experimentation. This is what Los Arrepentidos deals with”, he writes. He highlights that the play gives us an opportunity to “lose our way, fail, hesitate, make the wrong decision and experience regret”, actions that an optimistic and successful society does not forgive and actually punishes.
  • Regretters. This play by Marcus Lindeen was produced for the City Theater in Stockholm in 2006, being premiered again and again and selling-out on several occasions. It has been translated into French, German, Norwegian, Spanish and English and the original version was chosen as one of the best contemporary plays in Sweden by The Royal Dramatic Theater in Stockholm and by Swedish National Television, a channel on which it was shown in 2009. A Spanish version had already been put on in Mexico before Víctor Carrasco discovered the play. “I was researching the trans issue when I discovered it. I thought it was incredibly ground-breaking because it’s a gateway to something that’s almost taboo. Once you start down that road, there’s almost no return. The play is about the unending search for identity. It’s not about trial and error, but about the fact there are other kinds of searches”, explains Carrasco.

  • Biodrama. This concept refers to drama created using autobiographies. According to the Argentine theater director Vivi Tellas, one of the people who came up with the term, it’s about exploring one’s own autobiography or that of someone else as possible dramatic material. Unlike documentary theater, texts and documents are not used but rather the personal experiences of people who are still alive.

«One of the few plays that emerges as a winner because of its sheer stage presence, giving the spectator a taste of a lively (and artistic) experience»

Bio Bio Radio

«In a context that aims to recognize trans identities, this production shows us the sexual politics of the past to demonstrate that the successful future they talked to us about is not for everyone; attention also has to be paid to those who didn’t triumph, to those who have tarnished an otherwise successful gay history»

El Desconcierto

«Observing the result of this work is striking and moving, both because of the form it takes and because of the depth of the issue it deals with»

University of Chile Radio

An absolute must-see

El Mostrador

«One of the few plays that emerges as a winner because of its sheer stage presence, giving the spectator a taste of a lively (and artistic) experience»

Bio Bio Radio

«In a context that aims to recognize trans identities, this production shows us the sexual politics of the past to demonstrate that the successful future they talked to us about is not for everyone; attention also has to be paid to those who didn’t triumph, to those who have tarnished an otherwise successful gay history»

El Desconcierto

«Observing the result of this work is striking and moving, both because of the form it takes and because of the depth of the issue it deals with»

University of Chile Radio

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