The scenic space of “Locutorio” shows two cubes of equal dimensions separated by glass walls, in each of the actors it is located without physical contact with the other. The communication between them is as much with words as with the specular projection of their physical closeness through their reflection in the glass and in which they seem to join, in a visual game of shocking impact and that gives the body to Díaz’s reflection about the inevitability of oblivion and the search for proximity as a desperate form of “apprehension”, which is a way of keeping love in misguidance and madness. (Jorge Letelier F, Theater Critic El Mostrador)