In the 1930s, the Belvárosi Színház, led by Artúr Bárdos, gave space and support to writers rejected by other theatres. We are talking about women playwrights, but in the 1930s it was not clear that a woman could be a playwright or even a director in the theatre world. Therefore, Rózsi Meller tries her luck with her play hiding behind a male name. In the following year, Margit Gáspár appears at Bárdos and also disguises herself as Miklós Gáspár. In the context of this study, we will examine the works , Lieutenant Irja by Rózsi Meller, and The Price of Everything by Margit Gáspár. Lieutenant Irja’s theatrical exhibition offers a unique formal language: it is a novel and pioneering work, as it departs from the usual theatrical practice of the 1930s and, to a certain extent, marks out new directions in the spectator’s position with its gestures of distancing. The Price of Everything is bold in its choice of subject: the position of women in society and in the world of work. It highlights the latent defects of a practice based on social consensus, articulating the problems through the language of theatre. Through the distancing capacity of the stage world, the theme is represented artistically and thus shapes social discourse in its reception.