The article proposes a reading of the dramaturgical innovations of the play Irredentos by Antonio Acevedo Hernandez in the context of the Chilean theater at the beginning of the 20th century. An analytical framework that links Acevedo's work with topics of theatrical avant-garde of the period is applied. Emphasislies on the relationship between his work with the category of Political Theater by Erwin Piscator, and the concept of structure of feeling by Raymond Williams.