On the centenary of the birth of José Saramago, Nobel Prize for Literature in 1998, we are staging one of his best-known books: Blindness. A pandemic is sweeping the globe: a plague of unexplained and incurable blindness. The government applies increasingly repressive and useless restrictions to try to stop the contagion. Lack of resources and extreme conditions will make people fight to survive but only the most immoral will succeed.

Sant Llis, October 2018. After four hours of intense rain, a stream overflows its banks, flooding a small town in Mallorca and causing eleven deaths, several injuries and a great deal of material damage.

Very soon a wave of reactions is unleashed: an explosion of unprecedented solidarity and media coverage that raises more and more doubts. Could the tragedy have been avoided? Did the emergency protocols work? Why do they continue to build on the banks of streams?

Wearing a suit that he doesn't quite feel comfortable in, the playwright is about to enter the Academy to deliver a speech entitled Silence.

He has chosen to talk about silence in life and in theatre. And, also, to travel through the theatrical silences that resonate in his memory and body.

We went to secondary school together, but we met online, at the bottom of Narcissus’ lake. Who would have imagined that to get out of it we would have this adventure. In the heart of Europe. Where the earth is flat and the sky is white. Where big decisions are made. We just needed an idea to blow it all up. Just one. But having a great idea is not easy. It involves breaking the mirror itself, compromising the strength of the group, or even making the world a little worse.

Seven young people at a European convention have the responsibility, or are faced with the difficult situation, of staging another possible future in front of the political leaders responsible for the 2030 Agenda. In their hands, the opportunity to change the rules of a world condemned to drift in a global emergency with no return. Where to start? The countdown has begun.

Peeping Tom's latest creation re-imagines three of its pieces in a labyrinthine journey through the corridors of memory (The missing door, The lost room and The hidden floor). A trilogy in which the characters unsuccessfully try to create a new version of reality.

The prestigious Belgian company Peeping Tom has revolutionised the language of dance and theatre with a distinctive style and a dreamy and cinematographic aesthetic. A very characteristic world of its own, dark and disturbing, but one that retains the spark of a sense of humour.

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A woman who lives alone and doesn't have the strength to open milk cartons. A choir of elderly people from a home who dream of dancing like Pina Bausch. A parking attendant who controls old people and not cars. Moriu-vos speaks to us about old age in a society that sets it apart and ignores it, but it also speaks to us about rebellion, memory, forms of escape, fantasy and memories.

Fadi has a goal. The process that started a few years ago is about to end. His legs are shaking and, for the first time in many months of training, he finds himself unable to drive the van to his terrifying target. An unforeseen event at a petrol station will disrupt his plans and force him to flee in the form of a road movie through much of the geography of the country.

Juan Diego Botto steps into the shoes of Federico García Lorca to bring us closer to the lesser-known aspects of the poet's life and work, with the desire to identify what challenges us and make it alive and current.

Through irony and emotion, the poet recounts his time at the Residencia de Estudiantes, the reviews he received for Yerma, his experience at La Barraca, his relationship with the press, the love affairs and the tension of later years, as well as the need for artistic freedom, for freedom of expression and for finding sexual identity and the importance of memory and roots.

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Alan Bennett wrote these monologues for the BBC between 1988 and 1998. Reminiscent of his childhood spent in the provinces of England in the 1940s and 1950s, Bennett explains that he soon learned a valuable lesson: life is generally something that happens elsewhere.

Bennett humorously depicts a series of insignificant characters, existences without a future who, to avoid falling into the vertigo of emptiness and to create the illusion of life, talk non-stop.

Déjà vu tells us about the distance between a person and his dreams, about what he is and what he would like to be. Very ambitious dreams that awaken his airs of greatness but that at the same time are impossible, undermining his spirit. A visual show, without dialogue, where the borders between reality and fantasy are blurred in a story with a touch of melancholy and with a stage space that plays with the extreme disproportion of measures.

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Ivan and Petar arrive in Stockholm hopeful, looking for a city to welcome them. Inge works at a Swedish "inclusion centre" where she welcomes newcomers with the conviction that she is building a more multicultural society.

Tarik has been enjoying Nordic generosity and wellbeing for years and is working with Inge to encourage newcomers to create a new history. These four young people will fight to make this change a reality. But how long can hope be maintained? Undoubtedly, living means not losing hope.

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Terra baixa is, above all, a play of thrilling emotion that slips from rural drama to romantic tragedy to explode in a final liberating call, when Manelic cries out, after killing the master: "I killed the wolf ! I killed the wolf! I killed the wolf!” Three times, to make it clear. Good triumphs over evil, virtue over vice, the purity of the mountains (close to the sky) over the pettiness of the lowlands (and, down below everything, the late 19th century industrial Barcelona and its miseries).

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A powerful landowner tries to seduce Pamela, a fifteen-year-old maid. The girl rejects her predator master’s constant advances but, finally, he kidnaps and rapes her. Only her words will remain to express her outrage and despair. Words that will become a bold act, as questioning the master means questioning power. A personal take on Pamela, Samuel Richardson's controversial novel that explores the messy and often violent nature of desire.

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Alma is a girl who must flee her country. After a long journey, she arrives at an unknown place, where everyone is apparently happy, but they don't want to share anything with her.

With ingenuity, she will transform the individualism of an entire village into teamwork and teach a lesson for life to all those who had initially closed the door on her.

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We've all heard of Shakespeare's Othello, but in what new ways can this Shakespearean story be told?

Alba Sarraute & Les Ofèlies use the circus, acrobatics, music and the body to create a set of images full of poetry and tell Othello’s story from Desdemona’s point of view.

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Emma Bovary lives a routine and unsatisfying life alongside her husband. Her boredom squeezes her as tight as her corsets and she will soon be looking for more attention, lovers and new stimuli to fill the existential void. Emma struggles to meet the expectations ‒ her own and others’ ‒ of a society that expects her to be perfect, but she continues to fight for her last wish, to feel complete. A story marked by love, desire, adultery and death.

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Malaga-born bailaora Rocío Molina presents an exploration of the guitar and its relationship with flamenco. A trilogy that travels to the origins of flamenco to rebuild it.

The triad begins with Inicio (Uno), which revolves around the exclusive guitar playing of the master Riqueni; it continues with Al fondo riela (Lo Otro del Uno), where Yerai Cortés and Eduardo Trassierra enter into an exploratory dialogue on the polyphonic possibilities of the instrument, incorporating the contrapuntal, harmonic and rhythmic resources that the duet permits; and culminates with Vuelta a Uno, with a body-to-body dialogue with the guitar of Yerai Cortés.

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Malaga-born bailaora Rocío Molina presents an exploration of the guitar and its relationship with flamenco. A trilogy that travels to the origins of flamenco to rebuild it.

The triad begins with Inicio (Uno), which revolves around the exclusive guitar playing of the master Riqueni; it continues with Al fondo riela (Lo Otro del Uno), where Yerai Cortés and Eduardo Trassierra enter into an exploratory dialogue on the polyphonic possibilities of the instrument, incorporating the contrapuntal, harmonic and rhythmic resources that the duet permits; and culminates with Vuelta a Uno, with a body-to-body dialogue with the guitar of Yerai Cortés.

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Malaga-born bailaora Rocío Molina presents an exploration of the guitar and its relationship with flamenco. A trilogy that travels to the origins of flamenco to rebuild it.

The triad begins with Inicio (Uno), which revolves around the exclusive guitar playing of the master Riqueni; it continues with Al fondo riela (Lo Otro del Uno), where Yerai Cortés and Eduardo Trassierra enter into an exploratory dialogue on the polyphonic possibilities of the instrument, incorporating the contrapuntal, harmonic and rhythmic resources that the duet permits; and culminates with Vuelta a Uno, with a body-to-body dialogue with the guitar of Yerai Cortés.

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We continue to export Catalan talent and discover new European voices with the second edition of European Emerging Playwriting and a new country in the spotlight: Portugal.

Two Catalan playwrights will present their texts at the Teatro Nacional Sâo Joâo in Porto, under the direction of a Catalan director. Cristina Clemente with Ventura, directed by Anna Serrano, and Jordi Prat i Coll with M’hauríeu de pagar, directed by Pau Masaló.

We submerge ourselves in the life of a wealthy family from Yorkshire, the Conways, during the interwar period. It is the year 1919 and Kay, one of the daughters, is celebrating her birthday. During this celebration, and through a peculiar use of time, Priestley shows us how the members of this well-off English family with great expectations in life will not achieve any of these aspirations.

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Four playwrights. 48 hours locked in the TNC. An eight-handed play. A song at the end of every scene.

This is the starting point of Literary Dances, a different event that puts a Catalan playwright in contact with an international playwright.

Mal de Coraçon is born out of the fascination with Saint Teresa of Ávila.

Why are the texts of a 16th century nun still so challenging?

This time we will not ask these questions alone; we will ask them with the playwright Victoria Szpunberg and her company Teatro en Vilo.

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Three characters living inside an abandoned botanical garden are waiting for us to tell us the story of Momo, a girl who has the wonderful quality of listening to others. Momo also wants to help people when the grey men decide to take hold of one of the most precious goods people possess: their time.

We live and bring up our children in haste. We want them to speak languages and be good in all things. But, do we bring them up so that they think freely or learn how to listen?

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We are in 16th century Flanders and we accompany Zenon, a doctor and alchemist, in the final years of his life. L’alquimista is an adaptation of the novel by Marguerite Yourcenar Opus Nigrum, which recreates a Europe halfway between the darkness of the Middle Ages and the light of the Renaissance. A world that we see as almost dystopian while exploring issues in an almost visionary way.

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Xiula is a musical motivation group made up of four musicians and educators, which has revolutionised children’s entertainment.

With committed lyrics and current rhythms such as hip hop, reggae, Catalan rumba and pop rock, its secret lies in composing songs that will make the whole family dance in the Gardens of the TNC.

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With a 35-year history behind them which has established them as one of the benchmarks of dance in our country, Pep Ramis and María Muñoz come together for a rare meeting on the stage with this duet.

Double Infinite is a piece made from fragility, simplicity and love for a craft that poses questions about identity, the individual or the body.

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