This article aims to trace the supradisciplinary cartography, a confluence of movement, spoken and musical text, acting, musical interpretation and performance, that led the team formed by Carolina Sagredo (stage direction and dramaturgy), and the researchers of this article, Andrés Núñez (composition) and Mauricio Carrasco (performance), to conceive, elaborate and premiere two monodramatic works: Retablo de Sodomitas in 2018, and Villancicos del Santo Niño de las Quemaduras in 2022. Based on the text of Mexican poet Luis Felipe Fabre, Retablo de Sodomitas Novohispanos (2010), the Sagredo-Núñez-Carrasco triad reterritorializes the monodramatic genre through autoethnographic perspectives and queer performativity. This study will apply concepts associated with territory to the various artistic disciplines in question, analyse both monodramas as transdisciplinary objects, and discuss the differences between performativity and performance. It will try to trace a supposedly queer performative lineage while arguing for their posthuman adherence as artistic objects from the Global South.