There is a type of theatre that stirs me. It shakes me up. It makes me feel as though I am walking through swampy ground. It makes me tremble. It raises doubts. It interrogates me as an individual and also as part of a group. It puts me in a fragile place, questions me and makes me question things. This is the type of theatre that I like as an audience member and to which I aspire as an author. Paradoxically, I feel comfortable in these spaces of unease, possibly because I think that they are the only ones that can generate reflection and debate. Theatre is a ritual act in which a dialogue is created between what happens onstage and what happens in the stalls. The aspiration is for it not to die with the applause, but for us to take it home with us and for it to enter into the space of ideas. If it does not touch sensitive fibres and, simply, reaffirms our convictions, rather than putting them into quarantine, it is a theatre for the convinced. A bourgeois act, the preamble to us sitting down at a table in a restaurant.
Theatre is and has to be many things and it has to have many functionalities.
I think that every playwright has to write from a stance of commitment and be clear about what kind of theatre he or she wants to produce.
For me, playwriting is a need and a political act.
For further information on this author, go to the Catalandrama webpage (www.catalandrama.cat)
May 2016 – Fabulamundi involved Josep Maria Miró i Coromina in activities in Târgu-Mureş.
A graduate in journalism from the Universitat Autònoma de Barcelona and in directing and playwriting from the Institut del Teatre. He is the author of Temps salvatge, Olvidémonos de ser turistas, Cúbit, The Passage, Obac, Nerium Park, Smoke, Archimedes’ Principle, Gang Bang and La dona que perdia tots els avions. His work has been translated into 20 languages and premiered in some 30 countries. He has received various accolades, including the Frederic Roda prize at the 45th Night of Santa Llúcia – Catalan Literature Festival and, on two occasions has won the prestigious Born Prize. He is the author of various adaptations and has directed plays written by himself and by other playwrights. He is teacher of dramaturgy on the Performing Arts Degree course at the Universitat de Girona and regularly on courses at the Sala Beckett, as well as at national and international workshops. Since 2013 he has been a member of the reading committee at the Teatre Nacional de Catalunya.
A young girl dies in the arms of Sister Cecília, who finds her among some brambles after being brutally assaulted. This event will set of all the nun’s alarms regarding the functioning of the humanitarian project in the settlement where she is working, in an area devastated by violence and the numerous needs for aid to children and refugees. The episode will be the starting point of an intense emotional journey in relation to her ethical principles and her faith.
The Passage is the journey that takes Sister Cecília from the point of humanitarian conflict to cross the frontier with the first world, the origin of aid and, possibly, the source of the problems.
This play received the Frederic Roda Prize in 2015.
This work is available in German, English, Bulgarian, Spanish, Catalan and French.
Play for 3 actors and 2 actresses.
Lluc and Bernat return home for a couple of days, without knowing that they are going to coincide, and then they find another surprise: Paula, their mother, has moved a young man of their age into their home. The man is helping her with the task of writing a book to commemorate the anniversary of the Foundation that their parents set up twenty-five years ago. The two brothers experience misgivings and perplexity that she has chosen as a helper the son of someone with whom their parents had so many tensions and who now lives with their life and memories. This meeting will evidence the conflicts between the different sides and will place in doubt from where we configure the official stories.
Ulna deals with that place where we configure the memory and the frontiers between what is true and its reconstruction and destruction.
Text available in Spanish and Catalan.
Play for 3 actors and 1 actress.
Gerard and Marta have moved into Nerium Park, a housing development on the outskirts, half an hour from the big city. The months pass, and because of the economic crisis, no new neighbours arrive. This is a ghost development. The couple’s relationship will gradually disintegrate. This play develops over twelve scenes, each corresponding to a month of the year. It takes its name from the oleander (its Latin name being Nerium Oleander), a tree that is both ornamental and toxic, and is widely chosen to inhabit these new housing estates and main road areas.
Jordi, the coach of a children’s swimming group, hugs and kisses one of the children, who is crying because he is afraid of the water and doesn’t want to take his back float off. Jordi’s gesture, however, will cause complaints from some of the parents and give rise to a spiral of mistrust that will bring to the surface all kinds of suspicions, prejudices and fears.
Archimedes’ Principle is a play about human relations and contemporary fears. The work was produced with a creation grant from the Institució de les Lletres Catalanes (Catalan Letters Institute) and won the 36th Born Prize for Theatre.
Two western couples coincide at a hotel in a sub-developed country. They are to be holed up there for three days due to an outbreak of violence in the area and corresponding security measures. The younger couple are there to adopt a little girl. The older couple, an ex-diplomat and his wife, have been living there comfortably for years and have been advised to stay in a safe place and take the first flight out when the airport opens. Their meeting exposes the fragile balances and leads them towards a spiral of lies and betrayals.