In this paper we will analyze the poetic of Maurico Kartun's theater, in particular in Salomé de chacra, in order to elaborate a conceptualization of the “theatrical machine” in terms of the “optical machine” (mythological and anthropological) which produces images of the human character and the human character as an image. We will attempt possible interpretations of the didaskalic as a figure at the border between play writing and staging: unusually dealed plait on the theatrical canonical theory, whose anthropological thickness -which is of an eventual tenor, diferrante and restante- calls for not only a critical and historical question but an specifically theoretical one.