The death of the father

Is it possible to forgive someone who was never present? The Death of the Father, by the renowned playwright Gopal Ibarra Roa, comes to GAM as a contemporary theatrical device that immerses us in a story as intimate as it is heartbreaking.

In the last days of his life, a father—a former cosmonaut—decides to move near his daughter Petra, a slaughterhouse farmer. However, time has run out: resentment has taken root and Petra is not willing to grant easy forgiveness. All that remains, inevitably, is to face death.

Through this premise, the work displays a piercing criticism of traditional family structures and the figure of the father as an absolute symbol of authority. The montage does not remain a domestic drama, but masterfully links individual alienation with much broader social problems. Distrust in the institutions and broken promises of the state find a direct echo in the tensions of this fractured family, suggesting that national and personal wounds are made of the same material. The father's agony thus becomes a powerful metaphor for a country that deals with its own historical debts and its lack of solid references.

The relevance of this piece takes on special strength when considering the statistical reality of Chile and the world. Almost a third of Chilean households are made up of single mothers and millions of children grow up without the biological figure of the father in their lives. This lack is not just a hard fact, but an emotional condition that defines the development of entire societies. The Death of the Father uses this real basis to promote a necessary cultural dialogue about the legacy we are building for future generations and how the lack of care impacts the emotional health of the country.

One of the most moving and significant points of the production is the monologue inspired byClaudio Ibarra Hormazábal. Social leader and emblematic member of the Group of Relatives of Politically Executed Persons, his personal story is intertwined with fiction to pay a direct tribute to the historical memory of Chile. Being the author's actual father, this testimony injects the play with a layer of truth and commitment to social justice that transcends the performance. It is a gesture of brutal honesty that reaffirms the company's vocation to be a bridge between art and citizen participation.

After decades of mass and citizen theater, this production represents a turn towards the personal and intimate, rediscovering realism and delving into the complexity of the characters. The Death of the Father is, in essence, a testimony of artistic evolution; a work that celebrates the beginnings of an emblematic collective while demonstrating its ability to adapt to new times, delivering an experience that is, at the same time, a personal mourning and a collective reflection on dignity and reconciliation.

Dramaturgy: Gopal Ibarra Roa | Cast: Francisco Reyes, Daniela Ramirez, Daniel Alcaíno, Simón Aravena and Catalina Huerta | Direction: Hermanos Ibarra Roa | Production: Valeria Salomé | Sound design: Damián Noguera | Scenographic Design and Lighting: Jorge “Koke” Véliz | Costume design: Mónica Cortés
Project financed by the Performing Arts Fund of the Ministry of Cultures and the Arts. Call 2025. Co-production Spain - Chile
Application to the Iberescena 2026 program.