1. David Viñas, “Talesnik: Denuncia y compasión de la clase media,” preface to
Ricardo Talesnik, Cien veces no debo (Buenos Aires: Talía, 1983), 6. The play depicts a
middle- class family, the Siri, who must face the situation of their daughter’s preg-
nancy. It had its debut in August 1970, in the Margarita Xirgú Theater in Buenos
Aires, and two decades later reached the ﬁlm world. In 1976, Juan José Jusid released
No toquen a la nena, a movie with similar themes. In 1973, another ﬁlm, Repita con
nosotros este ejercicio, directed by Edgardo Kleinman, dealt with the issue of the middle
classes’ political and sexual repression.
2. Tomás Eloy Martínez, “Los del medio, mayoría domesticada y consumidora,
enemiga de todo cambio,” La Opinión, November 1, 1972, 8.
3. Martínez, “Una tabla de valores dictada por la necesidad de aparentar y ser
aceptado,” La Opinión, November 2, 1972, 8.
4. Martínez, “El psicoanalizado burgués nacional puede convertirse en un mar-
ginal,” La Opinión, November 4, 1972, 8.
5. Néstor Tirri, “Las armas de la clase media,” Panorama, no. 328 (August 20–Sep-
tember 5, 1973): 47. Other ﬁlm reviews can be consulted in Carlos Morelli, “Pepe
Soriano matando llega y se va”; “Las venganzas de Beto Sánchez,” La Prensa, August
24, 1973; and “Pepe Soriano en una excelente actuación,” La Nación, August 24, 1973.
6. The play was presented in the Payró Theater in Buenos Aires and in 1971 and
1972 was performed in other cities.
7. Monti deﬁned himself as a Marxist, and although his theater would later aban-
don these political pretensions, both this play and Una noche con el Sr. Magnus e hijos
(in this play released in 1970, the children of a middle- class family murder their
father, in an allegory for what radicalized youth were doing with their elders’ gen-
eration) express how political commitment and criticism of the middle class were
combined in the early 1970s rather well. Works with similar themes were Guillermo
Gentile’s Amorfo ’70 (1970), Alberto Adellach’s Chau papá (1971); Walter Operto’s