By means of seven Chilean dramas (Diaz Meza, Hurtado Borne, Cariola, Luco Cruchaga, Huidobro, Acevedo Hernandez, Moock, and Bunster) we analyze the family models present in their dramatic and imaginary conflicts. We offer a critical analysis of these seven works, covering the synchronic dimension of their constants, while also concluding the transformations that are visible in a diachronic analysis. In this way, we suggest a reading of the functions that the represented family model complies with, along with the relationships established in its contingent connection with the public sphere.