Fifty years ago, the doors of the Teatre Lliure were opened by those "crazy snipers who confuse theatre with a personal adventure," as defined by Fabià Puigserver, the soul of the project. The Palau Robert is hosting a unique commemorative exhibition until January 17th. Instead of a canonical retrospective made of objects, photographs, and costumes, they have invited the spectator to "look at the stage from a different place," says director Julio Manrique, defending the house motto, A free theatre. It is an invitation to enter the bowels of the stage through five theatrical installations created by five regular set designers of the Lliure who are from different generations.

Inflatable mattresses, messy pillows, open suitcases and scattered clothes have been filling the lobby of the Teatre Lliure de Gràcia for a week. The entrance windows are covered with cardboard, and anyone who doesn't know what's going on might think that one of Barcelona's most iconic venues has been occupied. Behind those responsible for this action is the Col·lectiu Miserable, led by director and playwright Miquel Mas de Fiol. When the director of the Lliure, Julio Manrique, proposed that he revisit La bella Helena as a tribute to the iconic 1979 show to celebrate the theater's 50th anniversary, Mas de Fiol and the entire company decided to go all out and camp in the hall. From this process will come Tot fent 'La bella Helena', which will be performed from September 22 to October 18 at the Lliure de Gràcia.

The classics speak to us of today and of ourselves. They speak to us of human relationships, of politics, of power, of who we are, how we are, and how we relate to each other. An Enemy of the People by Henrik Ibsen and its protagonist, Thomas Stockman, are a clear example. 144 years after its publication, the play maintains a fierce relevance tied, of course, to the political dilemmas it poses. And even more so: it is also tied to Brazil, where director Christiane Jatahy sets the play, and to the fidelity to scientific truth defended by Doctor Thomas Stockman, even if it implies the ruin of the community, or the renunciation to preserve the economic interests of society.

South Korea has one of the highest suicide rates in the world, with 29.1 deaths per 100,000 inhabitants, according to 2025 data. South Korean director Jinyeob Lee wanted to bring this issue to the stage and decided to do so by drawing inspiration from one of the country's most deeply rooted traditional practices: that of the female divers of Jeju Island, who practice free-diving to collect seafood. Starting from the diving technique, Lee devised the show "Muljil", which she has performed with the company Elephants Laugh and which will be shown this Wednesday and Thursday at the Teatre Lliure, as part of the Grec festival. The play places four cubicles filled with water on stage. In each, an performer is submerged with the water up to their nose.

The Grec festival annually seeks out the most in-vogue creators on the international scene to bring them to Barcelona and thus become a showcase for the most celebrated shows worldwide. In this year's edition, one of these names is that of South African artist Ntando Cele (Durban, 1980), who has landed in the Catalan capital with two proposals in her suitcase: Wasted land (which is being performed at the Teatre Lliure this Friday and Saturday) and SPAfrica (which will be seen this Tuesday and Wednesday at the Centre de les Arts Lliures).

The Mexican playwright, director, and actor Anacarsis Ramos (Campeche, 1996) has been working since he can remember. Born into a family of salespeople, during his childhood and adolescence he saw dozens of businesses come and go from his home without any of them truly taking root. His mother, Josefina Orlaineta, has had more than 40 different jobs – most of which involved using the house as a warehouse or workshop – and all of this made household economics an inseparable element of his daily life. With all this experience, Ramos has built a show that he has titled "My mother and the money, and which gives the mother a new job: that of interpreter. The show has been to Belgium, Greece, Canada and Germany, and will now be seen at the Espai Lliure on Tuesday 7 and Wednesday 8 July, as part of the Grec Festival.

Perhaps because it's our anniversary, the Teatre Grec Gardens are buzzing with people and activity, even though it's just past seven in the evening. It's one of the summer's big events and everyone wants to enjoy it and talk about it. The heat doesn't make it easy (shadows are highly sought after, hats and fans, at full speed), but the collective enthusiasm overcomes everything. The ducks quack contentedly – and will do so even more during the night – from the pond that welcomes one of Barcelona's most emblematic spaces. "At least they're in the water," says a woman to the man accompanying her, who follows her carrying two glasses full to the brim.

Next December will mark 50 years since a group of artists first raised the curtain of the Teatre Lliure, in a brave adventure that is still alive today. To celebrate the anniversary, the programming for the theatre's next season will be guided by the idea of transmission and will be full of memories of the institution's history. "We have stitched together a small narrative that celebrates and recognizes the legacy of those who have come before us, and that looks to the future. We will talk about connections, heritage, community, families, and hope," says the director of the Lliure, Julio Manrique.

Since his debut in 2021 at the Grec Festival with Finir en beauté, French creator Mohamed El Khatib has shown his sensitivity for bringing to the stage stories that remain in the shadows of society. The artist now returns to Barcelona with La vie secrète des vieux, a show about desire and love in old age that has been performed at the Avignon Festival and will now be at the Teatre Lliure from this Wednesday to Saturday.

Here is a play that is a challenge both for the audience and for the British playwright Ella Hickson when she was commissioned by the Almeida Theatre in London to write a play with total freedom. Hickson took it very seriously, letting out the conflicts that, as a playwright, she has to face in a British theatrical system increasingly focused on profitable proposals that have little or no impact on the real world.

The bottles of Fanta lemon on the tables at the usual refreshment offered by the Lliure after premieres were very suitable for this school-like proposal well conducted by an empathetic Olga Onrubia, chorus leader and guide of an entertaining look at Sophocles' classic but lacking the necessary pathos. It is a proposal that Andrea Jiménez's direction has populated with occurrences with little dramatic justification, such as replacing the old blind Tiresias with a girl heir to his power of prediction, reducing the character of Eurydice to nothing, or treating an Ismene dressed by her worst enemy as an actress who doesn't know what play she's in.

Júlia Truyol (Palma, 1987) is one of the driving forces behind La Calòrica, but over the years she has forged a career that goes beyond the company and demonstrates the actress's voracity for taking on different challenges. She now faces her first dramatic leading role with Contra Antígona, directed by Andrea Jiménez and performed from May 21 to June 21 at the Sala Fabià Puigserver of the Teatre Lliure. The show brings Sophocles' myth to contemporaneity with a peculiarity: at each performance, 14 volunteer spectators will go on stage with headphones to become part of the play.

The Norwegian writer and playwright Jon Fosse (Haugesund, 1959), winner of the 2023 Nobel Prize in Literature, is the most performed living European playwright in the world. "He occupies an important place in the theatrical canon, he is not at all a minority figure," emphasizes director Ferran Utzet. Despite Fosse's impact on contemporary theatre, his works are rarely present on the Catalan stage. In recent years, there have been very few productions, including "Soc el vent" directed by Marc Chornet at L'Akadèmia in 2021 and "Vindrà algú" in 2002, directed by Antonio Simón at Sala Beckett. Now Utzet wants to do him justice with "El fill", which will be performed from May 8 to June 7 at L'Espai Lliure de Montjuïc. "I have a strong sense of challenge and responsibility," says the director.

Stuntmen, otherwise called specialists or action doubles, are those performers who either substitute for the protagonists in dangerous scenes or are cinematic victims of the violence exerted upon them. Of violence goes this supposed opera by Nao Albet and Marcel Borràs

"We are excited by the idea of risk, the thought that we can make mistakes and that this can be a creative engine," says actor and director Nao Albet to explain why, together with his professional adventure partner Marcel Borràs, he has decided to dive into opera. The artistic duo — responsible for shows like Falsestuff (2018, Premi Max)— have written, directed, and will perform from April 15th to May 3rd Els Estunmen at the Teatre Lliure de Montjuïc. It is a contemporary opera with music by Fernando Velázquez, a live orchestra from the Gran Teatre del Liceu, and 21 people on stage.

What is the thread that connects Mozart and Bad Bunny? According to the company Cabosanroque, the connection is direct and very evident: through the opera Don Giovanni. The Puerto Rican artist sings in Tití me preguntó about the women he has slept with, just as the protagonist of Mozart's opera reviews his conquests at one point in the show. "The myth of Don Juan has been revisited many, many times. Each era is responsible for reflecting on it, judging it, and deciding whether to redeem or condemn it," explains Laia Torrents, the soul of Cabosanroque along with Roger Aixut. With this mission, the company projects its gaze on Mozart's opera, linking it to the present in the show Mil tres, say cheese, which can be seen from April 8 to 19 at the Teatre Lliure de Gràcia and is co-produced by the same theater with Temporada Alta.

There are a couple of hours left until a new performance ofThe ferryman At the Teatre Lliure de Montjuïc in Barcelona, ​​eleven-year-old Bruna Luz is restless and starts dancing before going on stage, while she waits for her turn to have her hair done, change, and put on her microphone. Beside her, ten-year-old Bruna Armengol joins in her games and laughs nonstop while waiting for the same. In a little while, they will become Mercy and Honor Carney, and their characters will travel to a rural area of ​​County Armagh in Northern Ireland. It will be a day in late August 1981, and the Carney family will be celebrating Harvest Day. But the festive family day will end in tragedy.

There's a rule we apply with friends: if The first year is a successThe second becomes a tradition. The second edition of the Anna Pérez Pagès Prize for Cultural Journalism has established itself as the only place and the only time in which anyone celebrates the importance of culture and the existence of those of us who explain it; today they would call it the secure site of cultural journalists, just as the red sofa ofArctic, the memorable Betevé program directed by the honoree, which He left us prematurely two years ago. If tradition is a celebration, the ritual of an award ceremony serves not only to remember Anna, but also to put her on our calendars, just like we used to do when we met up with her.

It's rare that the press area at the Teatre Lliure is so crowded the company presenting the show that it's practically bursting at the seams. This Monday was no exception, but the overcrowding was justified: the Grec Festival and the Teatre Lliure are celebrating their 50th anniversary in 2026, and to mark the occasion, they've decided to pull out all the stops with a massive production. The Three-Royal Opera by Bertolt Brecht. It will be directed by the Galician creator Marta Pazos, responsible for shows that have left their mark on Barcelona, ​​such as the opera Alexina B and the García Lorca montage The public. Dani Espasa will assume the musical direction of the show, which will feature a live orchestra, choreography by Mabel Olea, and 12 performers on stage, including top names such as Nao Albet, Eduard Farelo, Míriam Moukhles, Júlia Truyol, and Roc Bernad. "It will be a celebration born from pleasure, joy, and hope," says Julio Manrique, director of the Lliure. Letícia Martín, director of the Grec Festival, adds that "a show of this scale was perfect for both openings: the festival itself, on June 29, and the Lliure's season."

In 2025, 21% of the State's citizens were 65 years of age or older. And 5.5% of those over 65 suffer or will suffer from Alzheimer's. Marc Artigau, one of the most awarded and performed Catalan playwrights, has aptly written works about adolescence (The others); on improvised happiness (Good intentions); about grandparents and habaneras (There's no need to go to Havana); about robots (Sunrise or the Garden of Earthly Delights), and several love stories (You will arrive and it will be night and The deserted islandAnd he always does so with a touch of comedy, even when discussing serious matters. This is the case withA party in Rome, which focuses on a theme that theater has often explored, in keeping with the social importance of Alzheimer's disease (The father, by Florian Zeller; Full moon, by Aki Shimazaki; Deserts of memory, by Marcela Tierra; Before the German arrives(by Marta Barceló). A painful subject that could easily lead to drama, but which Artigau turns into an entertaining sentimental comedy that Clara Segura directs with confidence and rhythm, and which the audience applauds enthusiastically.