ABSTRACT
Using José Esteban Muñoz’s theoretical model of “queer futurity,” this chapter analyzes some of the avant-garde plays from the 60s written by Cuban and Queer playwright, director, and mentor, Maria Irene Fornés. Contreras connects and analyzes the themes of affection and harm, ignorance and truth, arrogance and humility in Tango Palace, The Successful Life of 3, and Dr. Kheal that exude a tactic to navigate the heteronormative societal structures placed on minoritarian subjects. This chapter argues that Fornés was constantly pushing the boundaries of confinement to a singular label to create new worlds, Queer dreamscapes, where those not accepted by societal standards of the time could have a voice.
