This article presents the way in which both torture and the disappearance of individuals were staged in Chilean theatre from 1985 to 2011. The diachronic approach of this study is set to determine the ways in which the state's official reports on humans rights violations during dictatorship - the Rettig Report (1991) and the Valech Report (2004, 2011) - made an impact on theatrical production in terms of its political function. The study also analyses deployed theatrical devices to address extreme political violence onstage.