This article focuses on the possible outcomes that may unfold when personal narratives have been intentionally applied on stage to generate a tension between the ideas of reality and fiction in performance. The article uses theoretical references that conceptualize the notion of the ‘Real’ – from the social context of the 1960s to the present – and follows the thoughts of philosophers like Debord, Baudrillard and Rosset with the aim to consider theater and performance as artistic fields that have the potential to interrogate totalizing statements about the truth in today’s world.