Özet:

Abstract Autofiction, originated in the narrative literary field, has become a real cultural phenomenon with broad acceptance in various genres, including drama. In addition to this, the progressive and current politicization of art has also been reflected in drama appearing different subjects relating to social issues. Thus, in Spanish theatre, we find female artists who have condemned the problem of male violence against women. In this work, we will analyze the capacity of autofiction to generate critical discourse against problems in the real world, in particular violence against women. To this end, we will conduct the analysis of some contemporary plays as Efecto Foehn, by Christina Gavel, Anatomia dunha serea, by Iria Pinheiro, and La casa de la fuerza, by Angélica Liddell. In the first play the author gave testimony of the rape she had suffered years ago and extended it over the whole reality in Spain; in the second one the author denounces the obstetric violence that she suffered; and in Liddell’s play, she uses her personal distress caused by the break-up of her relationship to connect her suffering to the victims of the femicides in Ciudad Juárez. In these plays, the coincidence of character, author, and narrator turns these theatrical works into examples of political and theatrical autofiction.

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