This article enquires the strategies of composition –that is, how a play is composed- in two acting styles in Buenos Aires: realism and theater of states. In this way, we aim to analyze the relationship between training the body and the voice and composing, and the way the master speaks about this process, thus articulating symbolic frontiers that differentiate better and worse acting styles. Analyzing strategies of composition in two acting styles will allow us to enquire about the relationship between the written and spoken word and acting, the particular ways these elements articulate in each of these acting styles.