Cuando el cuerpo es lo único que tengo: el carnaval de los miserables como estrategia convivial antipatrimonial en Prostíbulo poético Valparaíso.

The goal of this article is to analyze the scenic-performative procedures used in Pita Torres' staging, Prostíbulo poético Valparaíso (2018), to understand how, through theatrical-gathering resources a world of marginal festivity that tenses the image of the patrimonial, cultural and touristic Valparaíso, old port of the South, (raised from the political institutionally) is configured. The analysis suggests that the choice of a borderline proxemics, which favours bodily interaction between actants and spectators, produces a shocking experience that takes them out of illusion. This configures as a non-textual strategy that raises a social critique from within the poetic universe. [ABSTRACT FROM AUTHOR]