Chekov wrote this “comedy” just before the 1905 Russian revolution, which would be a prelude to the profound transformations of the country with the end of tsarism. The play portrays the decline of the aristocracy and the loss of old privileges faced with the emergence of new social forces that have little to do with traditional values that are clearly disappearing.

Stabat Mater is the first part of the Quattro atti profani by Antonio Tarantino, together with Passione secondo Giovanni, Vespro della Beata Vergine and Lustrini. Over the years, the play has become a contemporary Italian theatre classic because of its verbal magnetism and ethical strength.

With this production by the Companyia Solitària, the playwright Aleix Aguilà reflects on the relations between violence and society. How is the power of the states expressed through violence? What mechanisms do citizens have to confront it?

Fame calls on everyone to go to the great market of the world. Everyone has a talent to buy what they desire and must use it to be happy. Innocence and Malice will accompany the purchasers. Figures such as Pride, Humility, Pleasure, Penitence or Disillusionment parade among the sellers. In the market you can buy anything, from Thought to Guilt. Meanwhile, Music watches over all and marks the rhythms.

Ariadna Gil performs this autobiographical story directed by Lurdes Barba. A heartbreaking introspection of the intimacy of the writer, with all her contradictions, which at the same time dissects the upheavals of a period of suffering with extreme delicacy and devoid of any kind of grandiloquence.

Gabriela Carrizo and Franck Chartier direct the third part of a family trilogy by the Belgian company Peeping Tom. Using childhood as a starting point, with its fears and desires, Kind investigates the changes of perspective in the way children see the world as they grow up, and how this translates into gestures and body language.