is unable to get satisfaction, and Castrato is unable to provide
it. Their mistress, virtually living in a world ofher own, symbolizes
With just these three characters as protagonists, Arkás
creates a series of short theatrical one-act plays in which the
irony of the satanic Lucretia (Borgia) focuses on
the fatalistic Castrato, who reacts according to his temperament.
Arkás skilfully blends toughness with tenderness, always
sustaining an admirable balance between his characters, working
on several levels and eliciting sympathy for his anti-heroes.