| Summary: | In the 80’s, a new topic emerges on the social and cultural gay stage: AIDS. The terrible consequences of AIDS on the community, together with the discriminant talks awaken around the illness become the main theme of many plays. The two plays compared here focus on this subject. However, excluding some similarities such analogous places or characters, both authors stage very different representative systems and theatrical technics, while both fight against discrimination. Copi’s tragic laugh and Valdés Medellín’s dramatic didacticism seem to purpose two distinct kinds of resistance, each one coming from a common cultural and social context but reflecting distinctive goals, both on the artistic and political side. This article aims to study what these differences mean and reveal.
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