Cabosanroque's theatre (Laia Torrents and Roger Aixut) has shunned theatrical conventions, moving towards visual and sound proposals that are difficult to categorize. A performative theatre that develops music-visual artifacts, playing with tempos and metrics, with sound and silence in fully contemporary scores and stage spaces of strong plasticity. In their creative territory, there is a deliberate absence of literature, although they have created shows about Verdaguer, Rodoreda, and Brossa with scarce human presence. This changes in Mil tres, say cheese, a kind of stimulating contemporary opera based on the character of Don Juan and the music of Mozart.

Education is not only one of the main topics of public policies, subject to too constant changes that do not facilitate the functioning of schools and end up negatively influencing children's academic results. It is also a troubling problem that all parents face when they have to decide where and how to guide their sons' or daughters' education with the hope that whoever gets it right guesses it.

The historical novel or false biography of the Roman emperor Hadrian is the best-known and most-read book by the Belgian writer Marguerite Yourcenar. The novel was adapted for the stage by the Italian director Maurizio Scaparro in 1989 and a few years later it was seen in the Castilian version by Julio Cortázar, also directed by Scaparro, at the Teatre Grec in Barcelona. Now the show returns to the stage with a dramatization by Brenda Escobedo and with the fantastic starring role of Lluís Homar, for whom the part is a perfect fit. Hadrian/Yourcenar's reflections on politics, wars, beauty, and death compose a human fresco that the virtuous Lluís Homar conveys, combining delicacy with depth, confidence with tender melancholy. 

You have to warm up before you start. And if you're warming up, you'd better keep warming up because if you stop, you'll have to start all over again. And that's always difficult. So says the flamenco dancer Rocío Molina, and that's why, while the audience sits in their seats and chats away, she exercises on a mat in the middle of the empty stage. And that's why, after two hours of a high-heeled spectacle, after the greeting from the rest of the company and a resounding applause with the entire audience on their feet and reluctant to leave, she will continue tapping her heels while the music plays.Achilipú by Dolores Vargas, La Terremoto.

Sol Picó closes a chapter with her first show in the Sala Gran of the Teatre Nacional. A show that is a farewell or, as she says, a transformation. And it arrives with a personal apocalypse full of strength, dedication, and magnificent choreography.

Tender It's a kind of striptease The emotional space between a couple of artists. "You take up more space," Judit Colomer tells Pau Vinyals. And it's true. He's the table and she's the chair in the living room, we're told. That may or may not be the case in their actual home, but it certainly is in the shared experience of this creative performance they both produced. Perhaps it's because she's a good set designer but a debut actress, while he's a good actor with a notable career. Perhaps it's because she's more emotionally grounded and mature, while he's more playful, outgoing, funny, and likes to bare his soul and show off his underwear. Perhaps it's because, ultimately, he represents the eternally dominant baron who explains how they met without her saying a word, and when she wants to speak, he constantly interrupts her. Perhaps it's because he needs to explain his bisexuality to himself and to us.

French director Séverine Chavrier, whom we met four years ago with And the new ones where I forgot (the adaptation ofThe lime kiln Thomas Bernhard's play), has returned to the Teatre Nacional de Catalunya. And it has done so with a very free adaptation of one of William Faulkner's most celebrated but also most complex works, Absalom, Absalom! Faulkner narrates the rise and fall of Thomas Sutpen, a poor Mississippi boy in the early 19th century who achieves wealth and becomes a slave-owning tyrant in his quest for social recognition.

The French princess Margaret of Anjou is a fairly important figure in English history. Married by proxy at the age of 16 to Henry VI, she became a powerful queen renowned for her intelligence and political acumen, but also for her unwavering courage, which, as Edward Hall said, made her "more like a man than a woman." In the theater, she is a minor character in four of William Shakespeare's plays (the three parts ofHenry VI and, above all, Richard III), all of them documented from The Holinshed Chronicles (Chronicles of England, Scotland, and Ireland), written between 1528 and 1580. "She-wolf of France, if not worse than the wolves of France," says the Duke of Suffolk in one of them.

"Why? Why?" And more than 20 whys. That seven-year-old girl on the beach who ignored her father's words not to go into the sea and ended up being rescued amidst a plague of jellyfish is gone. "Why? Why?" The distance It's a dystopian work by director and playwright Tiago Rodrigues about parents' fear for their children's future and also about the hope for a new world that leaves behind the disaster of our humanity. The daughter embarks on a space mission to Mars, where a new society is being built that, to prosper, must forget the past. Forget everything. Forget Earth, even if they want to preserve olive oil made without olives. And the daughter has committed herself to this adventure of no return.

Jordi Casanovas's theatre moves between the many facets of human comedy and the commitment of political drama about the most immediate reality. With Gothenburg the author of Pack, Ruz-Bárcenas, A set menu, Idiot either Vilafranca It ventures into romantic comedy. It does so with a bittersweet story about the sudden reunion of a mature couple 30 years after their high school graduation trip to Gothenburg. Something was born between them there. Paula (Maria MolinsShe has recovered an old diary from her adolescence, spurred by the desire to uncover what really happened between them. To clarify things, she unexpectedly shows up at Sergi's (Roger Coma) house. Thus begins a dialogue, almost an interrogation, during which their understanding of each other's love emerges. It even becomes clear that, while the past cannot be changed, perhaps the memory of that past can be modified, even if nothing else changes.

T de Teatre is the oldest all-female Catalan company (though they do include actors in certain productions). They have been performing on stage for 35 years, since those fantastic... Misogynistic storiesPatricia Highsmith's plays, which launched their careers, have a long history (14 shows and nearly 3,000 performances), during which they have created a unique style of comedy, choosing a different director and playwright for each project. I will not cry today. They have placed themselves in the hands of one of the most acclaimed Argentine directors among us, Nelson Valente, responsible for shows such as The madman and the shirt, The dogs, Amnesia and Happy endings are for others.

Blood brothers It originated in the early 1980s as a commissioned play for high school students. Shortly after, author Willy Russell adapted it into a musical that garnered acclaim in the West End, on Broadway, and also in Barcelona, with the 1994 production premiering at the Teatre Condal, directed by Ricard Reguant and co-starring Àngels Gonyalons. From the Condal's audience, Daniel Anglès learned the story of Mrs. Johnstone's twins, separated by their mother's precarious situation. He then joined the cast for the tour and has now taken on the direction of a new and successful version that deliberately distances itself from both the London and Barcelona originals.

Everyone's talking about it. With varying degrees of understanding, it's one of the topics that comes up in conversations, crowned with a big question mark. It's already here, even if we don't see it. Artificial intelligence is infiltrating everywhere. A great tool for the present and future for some, a virus that annihilates jobs for others, and pandemonium for everyone. Even something as human as theater has been devoured by the technological Big Brother in the new play by Gabriel Calderón.

Greta wants to commit suicide It is one of the first works by a young Angélica Liddell and the first to win one of the many awards that would follow, the Ciudad de Alcorcón Theatre Prize in 1988. Since then, death and suicide as a final poetic act have been omnipresent in the intense stage production of the artist born into the artist. In fact, her last two acclaimed shows revolved around her own funeral –Voodoo (3318) Blixen, in 2023 – and that of Ingmar Bergman –Dämon. Bergman's Funeral, in 2024–. The creator delivers one or more shows per year, so now she premieres in Temporada Alta Sepukku. Mishima's funeral or the pleasure of dyingwhich would close a false trilogy that resonates, and how, with suicide as one of the fine arts and death as the artist's aesthetic ideal.

Parenthood is an infinite mystery, especially in our times. A mystery that is usually not revealed until it is too late to turn back. Or is it? In the United States, in addition to public adoption, there is private adoption. The latter is much less regulated and gives rise to phenomena such as so-called private relocation, whereby children from the rest of the world adopted in the United States can be given away online or at meetings held by some evangelical churches to place young people who have been adopted and rejected by other families.

The hand (originally titled En behanding in Spokane) is the first work set in the United States by the Irishman Martin McDonagh, an author we discovered in 1999 thanks to Mario Gas and that theatrical gem called Leenane's beauty queen. Eight years ago, La Villarroel also presented The Connemara SkullPremiered on Broadway in 2010 with Christopher Walken and Elia Kazan's granddaughter (Zoe Kazan) in the cast, The hand It's a dark comedy like The skullBut somewhat more absurd and less entertaining.

When an author adapts a classic or well-known work and announces that what he or she has created is a "free or very free version," we must be careful because it is usually an excuse to create a work that is unrelated to the original but takes advantage of its universal appeal. I think this is very much the case with the unfortunate version of the classic that Lucia del Greco premiered at the Lliure de Gràcia. Women, by Louisa May Alcott (1868).

The Italian Toni Servillo, with Le voci di Dante, and the Argentine Romina Paula, with a version ofThe Glass Menagerie by Tennessee Williams, opened the first edition of Flash de Otoño this week. These are two very good shows for this small performing arts festival organized by Bitò—the same company that programs the Temporada Alta in Girona—with the support of the City Council and the Generalitat (Catalan government) and the collaboration of several theaters. Flash de Otoño is exploring the possibility of a broader theatrical showcase of international shows to open the season in Barcelona. For the moment, it is inspired by series such as the Regàs Memorial, which for six editions (from 1981 to 1987) brought quality international theater to Barcelona and which disappeared due to a lack of institutional support.

Who killed my father? (More Books, 2019) is The third autobiographical novel by the young French writer Édouard Louis (Hallencourt, 1992). A trilogy that began with Farewell to Eddy Bellegueule –a great editorial success with which he became known–, published in Catalan by Més Llibres in 2015, in which he spoke about bullying, homophobia and the injustice he suffered for being gay, and which continues to be History of violence (Más Libros, 2018), where he portrayed the rape and attempted murder he suffered on Christmas 2012. Poverty, domestic and institutional violence, the marginalization of those who are different, and the lack of social justice are manifested in the three installments in various ways.

The seemingly most boring lives can hide small and large dramas. The protagonist of this dark tale by Lluïsa Cunillé is a gray man with a gray life. Despite being widely read, he has had little choice. And it's not that he didn't have youthful dreams; quite the contrary, he wanted to travel and see the world. One day, he even thought he'd like to join the circus of his future wife, the daughter of an elephant tamer. But the world that passed him by was that of his father's kiosk next to a convention center, where he had no choice but to work.