The article aims to analyze the different ways of staging characters and narratives of appropriators men and women in two plays that were part of the first cycle of Teatro x la Identidad (City of Buenos Aires, 2001). For this, the construction of a repressor and appropriator will be studied through their public declarations reproduced by the written press at the end of the 1980s; and the dramatic use of those declarations in the semi-titled spectacle A propósito de la duda (2000-2001) by Patricia Zangaro, that makes him and his wife characters of appropriators represented, ironically, as "good parents". On the other hand, we will examine the play Método (2001), by Silvia Aira to investigate the configuration of the character of an appropriator as a sadistic monster based on the inspiration of her playwright. In addition, we will investigate the existence of repercussions of these plays for the cause of Abuelas de Plaza de Mayo and in the ways in which they build social memories around the crime of appropriation of minors. Finally, it is intended to justify the inclusion of the figures of the appropriators men and women in the category of repressor.