Marco Antonio de la Parra studied at the National Institute and later enrolled at the University of Chile, where he graduated as a surgeon in 1976 and specialized in adult psychiatry.

Hernán Larraín, the head of a commission representing the military regime, insisted that this was not a political persecution, writing, "We suppress it for the language and its content, which we consider disrespectful."

María de la Luz Hurtado, a researcher for the university's theater school, disagreed with this, writing, "The work was not censored because there was rudeness, but for a political issue, obviously.

With Chile's return to democracy, after Augusto Pinochet was forced to surrender power due to his defeat in the 1988 plebiscite, de la Parra was appointed cultural attaché to the embassy in Spain by the government of Patricio Aylwin.

[4] At this house of studies he also directs the 21st Century Chair, which puts forward reflections on the great trends that are prevailing in the fields of culture, science, and social disciplines.

Professor Adolfo Albornoz Farías argues that, From the thematic perspective, the theatrical production of Marco Antonio de la Parra is organized around three substantial investigations.

The main tensions of this class, their loves and hatreds, loyalties and betrayals, its political and economic determinants, have been particularly addressed, for example, in Infieles (1988), El continente negro (1994), Monogamia (2000), and Sushi (2003).