Roland Schimmelpfennig is one of the most performed German authors in the world, and his work has begun to emerge among us since the premiere of The Arabian Night (2006) at the Sala Beckett under the direction of Toni Casares. His theatre shuns conventional dramatic conventions and, consequently, explores new ways of explaining reality. He does so through a play of social and personal tensions within a hyper-fragmented and repetitive narrative, which illustrates very well the accelerated, nervous, almost convulsive nature of today's society. All of this is seasoned with corrosive humour. They are always demanding works for the performers but also for the spectators, confronted with a stage development where the information, scarce but sufficient, is admirably mixed with an often stark poetic lyricism where the characters elude logic.

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 Agost(2012) and Smiley (2014). Now he faces a new challenge, that of performing his first monologue. He does so directed by David Pintó in the production El lladre de llibretes, 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.

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 Matilda as well as the script for the film of the same name. In any case, we can say that After the end It falls into the subgenre of claustrophobic theatre, like that first success of Jordi Galceran (Chained words) or the Misery 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.