This essay approaches Cristina Escofet’s work from the theoretical concept of simulacra as proposed by Jean Baudrillard and as reflected in the writings of other critics and thinkers such as Judith Butler and Paul Virilio. Escofet emerges during an epoch of intense intellectual and emotional debate about the construction of an Argentine feminine identity. Her work stands out amongst her contemporaries for her creative analysis of the effects of simulacra on women. This article addresses all of Escofet’s plays in general and analyzes Ritos del corazón, ¿Qué pasó con Bette Davis? and Eternity Class. (JR
