ABSTRACT
Critics have often divided playwright Juan Radrigán’s career into two periods: during the dictatorship (1973–1990) and after (1990–2016). This duality can be productively complicated by also highlighting a third category: plays that are neither in the thick of resistance to dictatorship nor explorations of themes unrelated to dictatorship. They grapple instead with the long legacy of dictatorship and question how to grieve for the loss of democratic socialism, how to commemorate victims of the repression that followed the 1973 military coup, and how to survive, especially as an artist, despite continued dominance of the neoliberal economic system established under dictatorship.
