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    <title><![CDATA[Ara in English - Versus Glòries Room]]></title>
    <link><![CDATA[https://en.ara.cat/etiquetes/versus-glories-room/]]></link>
    <description><![CDATA[Ara in English - Versus Glòries Room]]></description>
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    <ttl>10</ttl>
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      <title><![CDATA["We have had to learn to live with little"]]></title>
      <link><![CDATA[https://en.ara.cat/culture/we-have-had-to-learn-to-live-with-little_128_5700995.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/bca2b6bb-b904-43a8-9988-51dd06ab6da7_16-9-aspect-ratio_default_0_x1723y742.jpg" /></p><p>With three decades of professional career behind him, actor Albert Triola (Mataró, 1973) knows the Catalan theater stages very well. He has worked with Dagoll Dagom, Guillem Clua, Sergi Belbel and Josep Maria Flotats and has been part of productions that have marked our country's billboard, such as <a href="https://www.ara.cat/cultura/torna-agost-lexit-gran-tnc_1_2484986.html" ><em>Agost</em></a>(2012) and <a href="https://www.ara.cat/cultura/smiley-guillem-clua-club-capitol_1_2332430.html" ><em>Smiley</em></a> (2014). Now he faces a new challenge, that of performing his first monologue. He does so directed by David Pintó in the production <em>El lladre de llibretes</em>, an adaptation of the homonymous novel by Gianni Solla about a helpless teenager in Mussolini's Italy. The production will be staged at the Versus theater until May 3.</p>]]></description>
      <dc:creator><![CDATA[Núria Juanico Llumà]]></dc:creator>
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      <pubDate><![CDATA[Wed, 08 Apr 2026 08:54:35 +0000]]></pubDate>
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      <media:title><![CDATA[The actor Albert Triola photographed at the Versus Room in Barcelona]]></media:title>
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      <subtitle><![CDATA[Actor. Premiere of 'The Notebook Thief' at Sala Versus]]></subtitle>
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      <title><![CDATA[Claustrophobic theater done right]]></title>
      <link><![CDATA[https://en.ara.cat/culture/claustrophobic-theater-done-right_1_5318246.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/88442e0f-1a0e-4cdf-bb9e-247d5d8d4630_16-9-aspect-ratio_default_0_x444y289.jpg" /></p><p>There are plays that are not easy to describe without revealing what the audience should discover throughout the performance. And this is one of them. An early work by the English playwright Dennis Kelly, author of some thirty plays and also of the libretto for the famous musical <em>Matilda</em> as well as the script for the film of the same name. In any case, we can say that <em>After the end</em> It falls into the subgenre of claustrophobic theatre, like that first success of Jordi Galceran (<em>Chained words</em>) or the <em>Misery</em> by Stephen King, which Sergi Mateu premiered at the Teatro Principal in 1999. In this subgenre, there's always a place you can't leave, either because they won't let you or because you can't. And, of course, a character with a certain imbalance.</p>]]></description>
      <dc:creator><![CDATA[Santi Fondevila]]></dc:creator>
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      <pubDate><![CDATA[Mon, 17 Mar 2025 09:20:13 +0000]]></pubDate>
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      <media:title><![CDATA[Meritxell Calvo and Ramon Pujol]]></media:title>
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      <subtitle><![CDATA[Marc Rosich's direction in 'After the End' is magnificent and the translation flows with gusto.]]></subtitle>
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