Marina Otero returns to Argentina with her latest theatrical piece, Ayoub. This work continues her creative path, which began in 2015 with 'Remember 30 Years to Live 65 Minutes,' and evolved through 'Fuck Me' (2020) and 'Love Me' (2022), to culminate in 'Kill Me' (2024). In 'Ayoub,' Otero shifts from an autobiographical focus to telling the story of another person. The idea originated from her initial plan to create a work about herself throughout her life. However, everything changed when she traveled to Tangier, Morocco, with a letter translated into Arabic offering a marriage of convenience to a man in exchange for his help to escape loneliness. There she met Ayoub, and her project collapsed. This encounter forced her to dismantle the colonial gaze that she and Ayoub both had. It is noted that in Argentina, the Arab world barely exists or is portrayed solely through a terrorist lens. Therefore, the play became a form of self-portrait and self-indictment. The focus is on power dynamics, immigration, and colonialism. Otero, holding a European ('red') passport that saves her life, acknowledges her privileges, while her interlocutor, Moroccan Ibrahim, has a 'green' one. The play touches on complex themes such as love, occupation, and salvation, challenging the narcissism that permeates relationships. Otero also emphasizes the centrality of the Palestinian cause, which became a pivotal focus for her, and expresses hope that the audience will see in Ayoub's story what unites people rather than what divides them. It is revealed that 'Ayoub' is a common name in the Islamic world, meaning 'the returned' or 'the repentant'.
