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In Nocturnos (2003), Edna Ochoa uses the model of the Theatre of the Absurd in order to examine gender identity in a married couple. In an attempt to spark a new interest in their relationship, the characters Él and Ella rent a room in a cheap motel so that they can eavesdrop on the conversations of the couple next door and later imitate them. The Theatre of the Absurd forces us to deconstruct the roles we carry out on a daily basis and the characters Él and Ella exchange and parody these roles in order to expose their artificiality. This article focuses on the study of the Theatre of the Absurd by Martin Esslin as well as theories of gender identity by Judith Butler to examine how Nocturnos questions stereotypical gender identities and exposes the artificial and theatrical nature of the masculine and feminine.
