The story of the survivors of sexual violence in the Balkan War in dialogue with an autofiction by the playwright Anna Maria Ricart Codina and the Cultura i Conflicte team

It happened in the heart of Europe, a two-hour flight from Barcelona. Here we enjoyed the Olympic euphoria, while in Sarajevo they had experienced it some years earlier. Suddenly, the television gave us images of the concentration camps in Bosnia and Herzegovina, mixed with the count of Olympic medals in Barcelona. November 2020 will mark 25 years since the official end of that war, in which between 25,000 and 50,000 girls and women were raped as an ethnic cleansing strategy. The spotlights and cameras are gone. But has the war ended for the survivors and for the sons and daughters born of those rapes?

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War conflicts and journalism. Where are the limits?

Pau Carrió approaches two of the most emblematic names of war journalism: the South African photographer Kevin Carter, who killed himself four months after having received the Pulitzer Prize for his photograph of a Sudanese girl with a vulture behind her, and the war correspondent Marie Colvin, assassinated by the Syrian regime in 2012 after having covered many armed conflicts in the Middle East, the Balkans, Chechnya, East Timor, Sierra Leone, Zimbabwe or Sri Lanka.

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The endearing journey of a mother and her daughter in search of the girl’s origins

Kàtia packs her bag and goes on a trip, the adventure of her life that she will experience with her mother. Will she find what she is looking for? Kàtia is a visual theatre show that speaks to us of the need to rediscover our roots.

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Carlota Subirós undergoes Tennessee Williams's universe with a hymn to beauty and freedom.

The 1940s, in a lost corner of the Pacific coast of Mexico. While groups of German tourists celebrate the Luftwaffe bombings of London in swimsuits, the former Reverend Lawrence T. Shannon, now a tour guide after being expelled from his church and having spent a time in a psychiatric clinic, reunites with a former lover who runs a small hotel.

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A play by Llàtzer Garcia in dialogue with the youths of one of the Girona neighbourhoods most affected by inequality

The name of the neighbourhood of La Font de la Pólvora comes from the fact of being at the foot of an old powder magazine and because the water of the spring has always had a slightly spicy taste. It is located past the cemetery up on the hill. This neighbourhood never appears on any postcard of Girona, only on the news, from time to time.

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A show from the company La Calòrica about the climate crisis

De què parlem mentre no parlem de tota aquesta merda is an environmentalist fresco, a mockumentary, a desperate race between stairs and landings, a community faced with the terrible challenge of organising itself before it is too late.

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The third piece in the trilogy by the choreographer Lali Ayguadé about identity

After Kokoro (2015) and iU an Mi (2017), Hidden completes the trilogy by the choreographer Lali Ayguadé on the concept of transformation within identity itself, understood as a profound conception of the liquid identity that evolves with time and circumstances.

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Opening Night reflects the profound admiration I feel as a stage director for John Cassavetes’ film, from which I have taken the title. Gena Rowlands once said: “We lived for cinema. They were intense and passionate years. The best of my life.” The performing arts have been my life since I founded La Veronal over 10 years ago now, and I have experienced every moment and every project from all the dimensions that make up the process. So in this piece based on my own experience, I want to show the audience everything that happens from this first idea in all its dimensions, from the intangible and psychological to the physical and tangible. 

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“Heroines or nothing? Well, maybe it will have to be nothing. Is that what the game is about? You only give us space in your world by forcing us to be heroes?”

A group of young female artistes, from very different backgrounds but all of them from the fringes and with the desire to do a revolutionary kind of theatre than turns society upside down, have managed to put a play on in one of the most important public theatres in the country. They are angry with the world, and quite rightly. As a company, and also at a personal level, they feel helpless, and think that right now their only solution is to do this play, which they regard as a Trojan horse to blow up the culture surrounding and suffocating them.

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Josep M. de Sagarra’s most personal play, together with Ocells i llops and La fortuna de Sílvia

On the premiere of Galatea in December 1948 at the Teatre Victòria, Josep M. de Sagarra recalled that the unusual cold of that winter – and the lack of heating in the theatre – meant that the audience saw the play shivering in their coats. It was not well received by most critics, and Sagarra complained that he had been insulted as if he were an arsonist or a corruptor of minors. Nevertheless, the playwright never stopped defending his play: “With La fortuna de Sílvia, with Ocells i llops and especially with Galatea I believed, and I believe sincerely, that I was trying to make a theatre more in keeping with my conscience and with the spiritual climate of our time.”

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The playwright Lluïsa Cunillé conjures with the phantoms of El Paral·lel in a great symphony of Barcelona’s nocturnal bohemia

A few months before the Second Republic is proclaimed, Barcelona mourns its most beloved and acclaimed artist: Palmira Picard, "L’Emperadriu del Paral·lel". While Barcelona’s great avenue of leisure is in mourning, the effervescence of the night has summoned all kinds of stage artisans, libertarian thinkers, bohemian writers and other heterodox agitators to La Tranquil·litat bar, who will get drunk to the health and memory of the great woman.

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An immersive experience in which we will discover a unique and endearing love story that will enhance our affection for the earth and everything it gives

Horta is a show by the Valencia-born creator Pau Pons that recovers the values rooted in the earth and the most genuine and ancestral customs, modernising and adapting them to the interest and knowledge of the youngest. A journey through a space transformed into a vegetable garden, in which the senses and the young ones will occupy centre stage: touching the earth, listening to it, singing songs, and discovering stories and fascinating objects.

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The story of a young woman with an intellectual disability who wants to be a mother and has to confront her community’s lack of understanding  

Cloe is 27, has an intellectual disability and has harboured a deep seated desire since a young age. The lack of understanding from her family, the institution where she lives and her community will lead her to an unprecedented fight for her rights, an awkward rebellion against her unfair situation in which she has lost control of her own body. Cloe will confront the law of men to realise her personal and natural yearning: to get pregnant and have a child. But the journey will make her doubt herself. Would she be a good mother? What is the ability that makes us good parents? Does everyone with children have it? Are all disabled people incapable of coping with maternity? 

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In such a diverse world perhaps those neighbours that we consider strangers are far more similar to us than we thought, no matter what they are like and where they come from

Full House is a piece of physical theatre without words, featuring live music, that through a contemporary fable explores coexistence, approached from the diversity of cultures and the need to share. Four different animals who are neighbours that had not realised the needs and similarities of those living next door.

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An acute insight into maternity by one of the great female voices of Catalan drama

The playwright and translator Carme Montoriol, with her short yet very subtle dramatic work, deserves a privileged place among the great modern classics of Catalan drama. In L’huracà, released in 1935, she portrays with enormous psychological subtlety the distressing conflict of a woman tragically absorbed by the possessive relationship that her son is obsessively demanding.

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