This study discusses an underexplored side of Marina Tsvetáieva's work: her dramatic creations, specially the Romantika (1916-1917) cycle.In order to do so, it presents a non settled translation of Uma aventura (1917), a play from that cycle.It's an intent to recreate the voice that the poet developed for herself on the stages in Russia, during the beginning of the soviet regime.When comparing side by side Tsvetáieva's dramatic and poetic oeuvre, this study offers commentary on all her plays, while focusing specifically on Uma aventura, in which it searches for the reasons that would lead her to create theatrical inventions that were very different to those she would find in her homeland.In order to develop a possible interpretation of Uma aventura, a brief theory of individualism and parody is sketched.