The Lookalike From Victoria

By Daniel Belfiore

Dramatic comedy in one act for two actors and three characters. Also "didactic comedy" because it illustrates not only about the properties of logical relationships but also about the properties of gender identity. It takes place during a lonely and silent Sunday afternoon in an old train station. There are two passengers, mutually unknown. Despite being men, one sees in the other a striking resemblance to the woman for whom he feels a deep and obsessive unrequited love.

• Language: English
• Publisher: Daniel Belfiore
• Release date: Jan 30, 2021
• ISBN: 9781005081959

Daniel Belfiore

Daniel G. Belfiore (Lanús, Buenos Aires,1955) es narrador y dramaturgo argentino. Colaboró como redactor y editor en Sopena, Eroticón, Perfil, EUDEBA, Testimonios Eróticos, Diálogos y Encuentros, Intimidades femeninas, Adultos y Clímax.

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THE LOOKALIKE FROM VICTORIA

(Didactic comedy for two actors and three characters)

By Daniel Belfiore

Original in Spanish: Los Sosías De Victoria

Copyright© 2021 Daniel Belfiore

All rights reserved

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Place of Action

A wooden shelter from an old train station; along, the platform, which is the rest of the stage. The shelter consists of two side walls and one in the forum against which there is a long bench; above the bank is the billboard framed by the railway schedules. On the left wall of the shelter, there is a window with the shutter, both closed (but which can be opened). Outside, the rest of the stage, is part of the platform around it, so that the characters can be placed outside the shelter, on the other side of the window and, when everything is open, look inward; and from the inside, outwards. Outside the shelter, on the right, there is a front wall with a small opening with bars that is the ticket office and is closed. Above the entrance of the shelter visibly hangs a sign with the name of the station: Victoria.

SINGLE ACT

It's a cloudy afternoon on an autumn Sunday. You can see the atmosphere of stillness and silence of a little-traveled area. A few moments later, from the right, you can hear steps that precede the appearance of B, a delicate-looking 27-year-old boy who enters the shelter. Examine the schedules on the billboard, look at the time on your wristwatch and sit on the bench inside the shelter. Almost immediately, sounds of steps to the right and appears A, another boy of an equivalent age and, also, delicate appearance. (While A is a male character, can be represented by a woman - characterized or not, according to the conception of the stage setting - for the additional purpose that later, if the director decides to include Scene II (Scene I is autonomous and complete) the same actor can represent C suggestively, which is a female character.) A does not enter the shelter, he stands watching to the left of the stage, where the train that will pass through the station will be heard in a timely manner, a train that the public will never get to see. A walks, goes, and comes down the platform and, from time to time, looks inside the shelter, observing B with progressive curiosity. At last, come in.

SCENE I

B and A

A.–Good afternoon.

B.–Good afternoon. (To inspect the shelter, it takes a few short turns inside, undecided. Go back out and look to the left of the stage again. Come in again. B gives him a short, overlapping look of mistrust. He