This study examines the theatrical representation of the stealing of children during the last dictatorships in Spain and in Argentina in Laila Ripoll's Los niños perdidos and Patricia Suárez's Astianacte: una máscara del amor under the lenses of the concepts of trauma, myth and memory. Following the theories suggested by Freud, Adorno, Whitehead, Reyes Mate and others, the first chapter discusses the representation of the psychological traumas left by the dictatorial practices left not only on the minds of individuals but also on both nations as whole entities. While Ripoll invites her audience to reflect upon the consequences of the Spanish Civil War and franquism, Patricia Suárez urges her spectators to doubt about their own identity if they were born during the last dictatorship in Argentina. In chapter two, the concepts advanced by Barthes, Reig Tapia and Moreno-Nuño help explore the ways in which the playwrights condemn the legitimizing myths that gave birth to these dictatorial regimes. Both authors subvert these fictional stories, mainly by the use of sarcasm and humor. By means of the concepts of memory supported by Benjamin, Todorov, Nora and Juliá, the third chapter examines the need to let the traditionally silenced voices tell their version of the historical events. Ripoll and Suárez warn their audiences that it is impossible to achieve one collective national memory because there are individual conflicting memories that stem from the personal experience of the traumatic events.