Pánico a la discoteca: Teatro, transición y underground (Chile, época 1990)

Abstract

In this essay I analyze a countercultural resistance performance held in Santiago de Chile, in the middle of the democratic transition; Spandex, a series of eight underground festivals held in the winter of 1991 by theater-workers Daniel Palma and Andrés Pérez as a survival strategy for their own company, the Great Circus Theater. Based on the review of press archives, I expose the censorship mechanisms, emphasizing on gender and sexualities, that hang over Spandex and the transitional government program to which these mechanisms respond.