This essay studies the award-winning play, “Sueños de una tarde dominical†by Maritza Núñez through the critical lense of central tenets of Augusto Boal’s “theater of the oppressed†and then seeks to make an articulation with analyses of certain artistic works by Frida Kahlo included in the dramatic action. The essay focuses on the analysis of relationships of power based on gender, race, class and
nation with an emphasis on the body as a primary locus of ideological inscription, oppression, resistance, history, and freedom. My reading of the play, by way of Boal, will take as its privileged figure of study, the personaje of Frida Kahlo, all analyses will emanate from the theatrical and
artistic (self)representation of her gendered experience. She will be considered (in a stylized or adapted-way) the central spect-actor in the play and, we could say, in life, in her own paintings as well.
