We propose a queer reading of Moscas sobre d manual (1958) and Arpeggione, the third part of Buenaventura (1962), texts that premiered outside of Chile and that were not included in our programming for decades. Through this lens we explain the ways in which Heiremans' dremtanturgy problematizes the challenge of mentioning affects, then criminalized. in one case through failed literary allusions (Moscas sobre el mcirmol), in the other through the use of musical references (Arpeggione). These works show how the possibilities of queer life were transformed under a state invested in a sanitized version of modernity. This revision opens new aesthetic possibilities and new understandings of Chilean theatre history.