The thought-provoking genius of Mexico’s Odin Dupeyron
Few figures stand out as boldly on stage in Mexico as Odin Dupeyron. A playwright, actor, director, author, and guru of sorts —though he adamantly denies this last title — Dupeyron has carved a unique niche for himself with his deeply personal, often humorous, and always thought-provoking works.
His ability to blend raw emotion with sharp wit has earned him a devoted following, making him one of Mexico’s most compelling contemporary voices.
His brutal honesty, humor, sarcasm, and insight into the human condition make him a difficult artist to categorize. Still, perhaps his work could be described as a mix of a stand-up comedy and a philosopher inspired by the likes of the Argentinian author Jorge Luis Borges, with a touch of Albert Camus and a hint of Dostoevsky.
Though his work is written in Spanish, his books have been translated into several languages, including English, and can be purchased on his website. During his plays and monologues, Dupeyron delivers lines at a rate that makes even native Spanish speakers spin, making them somewhat inaccessible for non-Spanish speakers. This said, his charisma, physical comedy, and stage presence may just be enough to capture the attention of just about anyone.
A strong start
Born in Mexico City, Dupeyron’s artistic journey began early. By 19, he landed his first big opportunity as a writer for television. Unhappy with how directors and producers had “chopped up” his work, Dupeyron insisted on directing — a gamble that paid off. According to Dupeyron, his biggest asset at the time was that because he did not know how “the biz” worked, he simply did what he thought was best, not worrying about being fired or making executives or the public angry. If all else fell through, he could always sell whatever on the subway, he proclaims during a monologue in his one-man show Recalculando.
A significant turning point in Dupeyron’s career came when, after having his theatrical projects rejected by venues and producers, Odin published his first and arguably most influential book, Y colorín colorado este cuento aún no se ha acabado, in 2001. The narrative delves into the paralyzing nature of fear, symbolized by the character Odái’s confinement by the “Black Dragon of Fear.” It also explores the fundamental human desire for freedom and integrity.
On Stage
Breaking through on stage with ¡A Vivir!
Another pivotal moment in Dupeyron’s career arrived with the premiere of his monologue play, “¡A Vivir!” which has enjoyed an extraordinary run of over 20 years. This remarkable longevity is a testament to the play’s profound and enduring popularity among Mexican theatergoers. The central theme of “¡A Vivir!” revolves around the idea that the true challenge in life lies not in its eventual end but in the tendency for individuals to delay truly living until it is too late. This one-man show’s powerful message presents an encouraging, proactive, and appreciative approach to life and has resonated deeply with audiences, prompting introspection and a renewed sense of purpose. The play’s ability to remain relevant and impactful across multiple generations, even selling out Mexico City’s Auditorio Nacional on more than one occasion.
The surreal world of Lucas
Odin Dupeyron’s play “Lucas” is a comedy-drama in which he plays the titular characters and writes and directs them. The story revolves around Lucas, a well-known visual artist who rents a room in his penthouse to his best friend Inga, who was only supposed to stay for a few weeks but has lived there much longer. David, who is younger than both, is a close friend who spends much time with them. One night, an unexpected event occurs that dramatically changes their lives. This leads to an inspection by an English Lord and a strict social worker assigned by an arbiter specializing in unconventional cases. As to not give away the central twist, it is sufficient to say that the play can be rather bizarre and surreal while exploring themes such as friendship, love, and the social roles shaping our relationships through unexpected situations.
On the edge of your seat with 22/22
Odin Dupeyron’s play “Veintidós veintidós” (which translates to Twenty-two Twenty-two or often referred to as 22/22) is a comedy-drama he directed. The story of “Veintidós veintidós” centers on Verónica, a suicidal woman who is confronted by an entity from beyond. The play is described as one that marks the hour of death and reflection, confronting the audience with the idea of death. Despite its disturbing subject matter, the play is full of laughs, and although it could not be called optimistic, it made audiences think.
A Lasting Legacy
Odin Dupeyron’s influence extends beyond the stage. His works have inspired countless artists and writers to embrace vulnerability as a strength, proving that the most powerful stories often come from the deepest corners of the human experience. Whether through his plays, books, or public talks, he continues to challenge, entertain, and move audiences—one heartfelt confession at a time. In a world that often values spectacle over substance, Dupeyron remains a refreshing exception: a true artist who reminds us of the beauty in imperfection, the power of storytelling, and the courage it takes to bare one’s soul.
The after show
Another interesting facet of Dupeyron’s career and persona is that he often stays after his presentations have concluded to engage in prolonged discussions with people who would like to remain and talk about his work and debate his character’s choices and his own positions. These discussions can sometimes get heated, especially regarding Dupeyron’s uncompromising views on freedom and his “devout” atheism.
Senior Editor Carlos Rosado van der Gracht is a Mexican expedition/Canadian photographer, adventure leader, and PhD candidate. Born in Mérida, Carlos holds multimedia, philosophy, and translation degrees from universities in Mexico, Canada and Norway.
