In the last play by Oier Guillan, entitled Mr. Mrs. and other wigs, we found seven plays. With the word Ileorde, the reference to Calva singer of Eugène Ionesco leads us to a tendency towards absurdity. Through this trend, the author has taken the opportunity to visualize and deconstruct social critique and social structures. And in addition, an entrance and exit to poetry that will take advantage to play with words and undress the self.

Guillano has had many comrades to recite the works: Ainhoa Alberdi, Amaia Corral, Joseba Roldán, Urtzi Urkizu, Iñigo Ortega and Miren Alcala. It raises questions and reflections to question normality and social norms, revealing contradictions in these works, repeating concepts and images that the author usually uses: depilation of pain or radical solidarity.

Mr. Señoran calls for disarming. It speaks of the gaze of oneself and others, the pains they cause and the possibility of releasing bodies. “We are all able to get it out of a closet. What’s yours?” asks the reader or viewer. In electoral practice the Basque says that every day he determines himself, his own leg, his tongue, his skin. The crowded door focuses on coexistence and conflicts. Part of the lyrics of a song by Anari and he starts to look at the relationships between beds and tables.

I love you still at work looking at the “dark side” of love. There is a question of how one can adapt the freedom of the other to that of oneself. Talk about the pain of those who love you. And it delves into pain in the conversations about Pain. It talks about the types of pain, the duration of pain, forgetfulness, equality.

In the work of two voices he brings Dupond and Dupont of Tintin to the memory. Looking in the mirror, they try to understand one's own through the other. They will speak of truth and lie, of wars in the world. “The war that women suffer is the oldest in the world, the unrecognized war, the one that has caused the most victims,” he concludes.

Marra published in 2010 with Artezblai. It's weird the last theatrical montage of this collection. “If something has so far defined what it is to be a man, that has been fear,” we can read it on these pages. It is about the family, the spaces and the corners. Like King Kong Théorien, Virginie Despentes appeals to the ugly. As Ainara Gurrutxaga says in the preamble, a recommended ointment to remove the ice sheet from the surface.