“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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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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