Sergi Belbel directs the meeting between Hedy Lamarr and Marilyn Monroe that could have altered the course of the Cold War

In 1962 the actresses Marilyn Monroe and Hedy Lamarr, an exceptional woman famous as an engineer for developing a system that was a precursor to today’s Wi-Fi technology, secretly met. Carles Batlle fictionalises an encounter between Hedy Lamarr and Marilyn Monroe that could have altered the course of the Cold War.


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Lurdes Barba directs this scathing classic by Santiago Rusiñol about toxic masculinity

In the midst of national bankruptcy, the Spanish authorities holler grotesque calls to heroism, hoping to silence the death rattles of the empire. Despite the masses of soldiers ravaged by typhus, every now and then a young man who has survived the panic of the state massacre and taken refuge in alcohol abuse and destructive sexuality is ennobled. And, as the war machine marches on, working families struggle to prevent their sons from fighting, unable to offer them a life beyond the bitter dynamics of a soulless productive economy.

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The discovery of desire. The raw lesson of solitude

“After passing through Ridorta they had come across a wagon going their way…” The start of Víctor Català’s best known work is an invitation to immerse oneself in the fascinating literary richness of Solitud, and foreshadows some of its major themes: landscape as a vocabulary to express existence, animality in the face of cultural and technical evolution, or time as human geography.


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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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A dramatic diptych by Pau Carrió to explore the ethical paradoxes of war journalism

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.

Director Carlota Subirós once again explores the twilight eroticism of Tennessee Williams

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 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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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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