Jorge Díaz was of joint Chilean and Spanish nationality; he originally trained to be an architect, but began writing for the Chilean theatre company, ICTUS, in 1961. He moved to Madrid ... (Read more...)
Jorge Díaz himself once commented that there are only three themes: sex, love and death but others which recurr in his work include solitude and deception. He also repeatedly explores t... (Read more...)
Díaz has been linked to the European theatre of the absurd (Ionesco, Beckett). However Díaz creates his own Chilean version of the absurd to critique and satirise Latin American politi... (Read more...)
Díaz, Jorge. 1961. El cepillo de dientes. In 9 Dramaturgos hispanoamericanos: Antología del teatro hispanoamericano del siglo XX, 3, ed. Frank Dauster, pp. 63-120. Ottawa, Ontario, Girol Books (in Spanish)
Díaz, Jorge. 1961. Réquiem por un girasol (Requiem for a Sunflower) (in Spanish)
Díaz, Jorge. 1961. Un hombre llamado Isla (A Man Called Island) (in Spanish)
Díaz, Jorge . 1967. El lugar donde mueren los mamíferos (The Place Where the Mammals Die) (in Spanish)
Díaz, Jorge. 1977. El Locutorio. (“Contrapunto para dos voces cansadas”) (in Spanish)
Boling, Becky. 1990. ‘Crest of Pepsodent: Jorge Díaz’s El cepillo de dientes’, Latin American Theatre Review, 24.1, 93–103
Salgado, María A. 1977. ‘El cepillo de dientes and El apartamiento: Two Opposing Views of Alienated Man’, Romance Notes, 17.3, 247–54
Walser, Leyland A. 1982. ‘Ship in a Crystal Jar by Jorge Díaz: Communication Crisis in a Technological World’, Language Quarterly, 21.1–2, 7, 12
Woodyard, George W. 1969. ‘The Theatre of the Absurd in Spanish America’, Comparative Drama, 3.3, 183-92
Entry written by Gwendolen Mackeith. Last updated on 8 August 2011.
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