Title: Extinction

Characters: 4
Luz: A middle-aged woman.
Mario: Her husband.
Iván: Her son.
Otto: Any age.

Stage setting: A closed space with leaks in the ceiling. The rear part of a car with a television. Kitchen with a gas tap.

Summary: A married couple lives a strange and routine enclosure. The son comes to realize his revenge upon them. The mother plays out a different relationship in her head.

Type of theater: An ironic tragic-comedy on family and enclosure.

Aa puzzle halfway between amusement, playfulness and criticism.

Hey, do you know a more sinister institution than the family?

It combines the caustic with the intimate, the desperate with the comic.

The family has humor in it, it will soon disappear.

The humor conditions the style whose undercurrent hides a notable violence.

An amusing and efficient play.

The four black (or white) beasts of my inspiration run loose.

The time has come to eradicate their common denominator: monotheism.

I am fed up with the world.

- Premiere at the “El Portón de Sánchez Theater” in Buenos Aires, Argentina, under the direction of Rúben Szuchmacher. 2002.
- Season in Buenos Aires. 2002-2003.
- Tour throughout festivals in Spain and Latin America. Among those places, Cádiz, Madrid (Fall Festival) and Buenos Aires (International Festival). 2002-2003.
- Opening at the “Cultural Center of Spain” of Santiago of Chile under the direction of Pablo Krogh. 2002.
- Season in Santiago of Chile and festivals in Chile. 2004-2005.
- Opening at the ESAD Theater in Cordoba, Spain, by the EN-CRUDO Company. Direction by Nieves López. June 2008.
- Semi-staged in Buenos Aires under the direction of Rubén Pires. 2001.
- Semi-staged in the Hellenic Cultural Center of Mexico under the direction of Saúl Melendez Viana. 2003.

the critics have said:
“A fierce fable of our days. I felt it was a meaningful and imaginative text in which the metaphor served not as a way of poeticizing or intellectualizing rage, but as a way of releasing it.
José Monleón. “Primer Acto”

“Very good. ‘Extinction’ talks about a profound devastation”
Carlos Pacheco. “La Nación” (Buenos Aires)

“The show seduces through its capacity to highlight in a simple and magisterial way, the-thirsty-for-blood jaws, latent under the routinely affects of the family”
Juan Ignacio García Garzón. “ABC”

“The author takes from the four horsemen of his particular Apocalypse and makes them ride through a scenic architecture that is well-connected although it does not cease to be labyrinthine.”
Ignacio Amestoy. “Las Puertas del Drama”

“’Extinction’ is one of the most singular works that is currently being shown in Buenos Aires. An intelligent theater.”
Federico Irazánal. “El Refugio de la Cultura”

“A sample of a theater that is on point, and where laughter gave wings to the audience.”
Feliz Estaire de la Rosa. “Gatos en Escena”

“His absurdities, outbursts and sexual discharges realize a recognizable and visceral experience, which furthermore, brings with it a lucid critique of certain norms and values.”
Patricia Espinosa. “Clarín” (Buenos Aires)

“Parody appears to be his way of expressing a weariness or a surfeit that provokes certain social structures and conventions. “
Eduardo Pérez Rasilla. “Reserva”

“Extinction.” Ñaque Editora. 2002.
Extracts translated into French, Italian, Greek and Portuguese by the Atelier Européen of the Traduction d’Órleans. 2003.




Extinction | Extract

Translated by Natalia Perellón

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