The article discusses the recurring theme of family in classic tragedies such as Oedipus, Antigone, and Hamlet, highlighting how family dynamics function not merely as a backdrop but as an integral part of the narrative architecture. In these tragedies, tension and relational intricacies are established even before the main events unfold, inviting the audience into a dense web of interactions where words lead to decisive actions such as exile, revenge, or catastrophe. The language of tragedy exists solely for action, propelling the narrative towards its climax and ultimate conclusion.

In contrast, contemporary French playwright Jean-Luc Lagarce redefines the use of this theatrical space. Although family remains an inescapable setting for the characters, it no longer acts as a catalyst for events. Lagarce's works depict a space where secrets and conflicts do not erupt; instead, words fail to spark actions, transform relationships, or advance the plot. Conversations accumulate without resolution, emphasizing the dysfunction in communication among even the closest of relatives. Lagarce's dramas unveil narratives through the gradual buildup of unproductive dialogue.

This structural distinction is most notably illustrated in Lagarce's acclaimed play "Just the End of the World," where the protagonist Louis returns to his family home as he face imminent death. Unlike traditional dramatic conventions that would foresee revelations or reconnections upon his return, the play subverts expectations; Louis's arrival does not trigger significant events or clarification of past grievances. Characters struggle with miscommunication, their emotional expressions failing to connect meaningfully, which highlights the pervasive silence and unresolved tensions within the family dynamic. Ultimately, this exploration of communication leads to a profound reflection on the nature of familial relationships and the failures inherent in human connections.