Elisabet Casanovas (Sabadell, 1994) arrives at the Teatre Lliure with her cello slung over her shoulder because tonight she has a performance of Little womenIn the mornings, it's rehearsal time. The theater has given him the perfect excuse to delve into the Newspapers by Anaïs Nin (1903-1977). "I was immediately captivated by her use of language and her profound commitment to her work, which is her diary, her life story. She lays herself bare, but through literature," she explains. The shamelessness of her diaries—which span four decades—her forays into erotic literature, and an unconventional love life have shaped the reception of the writer, one of the great literary influences of the 20th century. "I think that all the labels we unintentionally apply to her confine her. Anaïs says: 'I am amoral.' One could speak of polyamory, but also of an unquenchable thirst. I have the feeling that she is searching for something and finds in art a great balm to fill a void," she explains.

Twenty-first-century theater assumes that the classics must be betrayed to bring them closer to the modern world. A betrayal of traditional forms that, while preserving the plot and characters, revolutionizes the way stories are told. Hamlet from the Berlin Schaubühne directed by Thomas Ostermeier It is a paradigmatic example. Since its premiere in 2008, it has become an iconic proposal celebrated all over the world, which passed like lightning in December of that year through the Teatre Lliure and has now inaugurated the Temporada Alta festival at the Teatre Municipal de Girona.