Abstract:This essay contextualizes the queer project undertaken by Argentinian playwright and critic Tulio Carella's alter-ego Lucio Ginarte in the performative narrative that makes up most of his hybrid diary, Orgia (1968; 2011). Ginarte's symbolic, sexualized occupation of Recife's downtown in 1960-1961 foreshadows the queering of public spaces and openly affirms the physicality and presentness of interclass and interracial gay sex in Latin America. The essay also shows how Carella's visibility in the bustling Buenos Aires literary and theatrical scene in the 1940s and 1950s all but disappeared in the wake of the Recife "scandal" and the subsequent publication of Orgia. With the author relegated to "el closet de la crítica" (Molloy), his plays vanished from the stages.

中文翻译：

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Tulio Carella的累西腓时代：Orgia的政治，性行为和表演

摘要：本文将阿根廷剧作家和评论家图里奥·卡雷拉（Tulio Carella）的另一位自我露西欧·吉那尔特（Lucio Ginarte）从事的酷儿计划与背景结合起来，该表演叙事构成了他的混合日记《 Orgia》（1968; 2011）的大部分内容。Ginarte在1960-1961年对累西腓市区进行象征性的性占领，预示着公共场所的兴起，并公开肯定了拉丁美洲的阶级间和异族同性恋的身体和存在。这篇文章还显示了卡莱拉在1940年代和1950年代繁华的布宜诺斯艾利斯文学和戏剧界的知名度如何在累西腓“丑闻”和随后的Orgia出版后几乎消失了。随着作者降级为“莫洛伊壁橱”（Molloy），他的戏剧从舞台上消失了。