Abstract
This article compares the two major figures of Chilean and South African theatre, in particular two intimate realist dramas onstage and onscreen in the 1970s and 1980s, when both countries were ruled by tyrannies tolerated by governments in the so-called free world. InBoesman and LenaandHechos consumadosthe depiction of solidarity against the dispossession caused by ‘capitalist revolution’ in Pinochet's Chile or Afrikaner capitalism in apartheid South Africa still resonates today when the rhetoric of struggle appears compromised by the culture of consumption and when post-apartheid and post-dictatorship governments retreat from ‘suspended revolution’ in a world shaped not only in the global South but also in the affluent North by neo-liberal axioms of shrunken government and free markets for the rich against austerity for the poor.
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