For me, the most important thing about theatre is that, despite everything, it continues to be a collective art, and I believe it must be so at all of its levels. It is obvious that the clearest aspect in which this collective nature is highlighted is in performing, and precisely my development as a playwright (and as a stage director) has focused on finding the procedures, contents and specificities that enhance the collective nature of the performance. But it is also necessary for this collective nature to imbue all aspects of the theatrical phenomenon. It needs to be present in the performance, yes, but also in the processes of artistic creation, in the processes of production and in everything related with theatrical thought. And for me, forming part of the Fabulamundi community is precisely that: the opportunity to share a physical space, to share thoughts, ideas, viewpoints. To expand one’s view and see beyond administrative and artistic frontiers. To find each other. To be together. To look each other directly in the eyes.
Oriol Morales i Pujolar
Oriol Morales i Pujolar(1990) trained in performing arts management and playwriting at the Institut del Teatre de Barcelona, from where he graduated, and at the Obrador Internacional de Dramatúrgia de la Sala Beckett. Previously he had trained in acting, completing the studies plan of the Col·legi de Teatre de Barcelona. Professionally, he works in playwriting, stage directing and teaching in the field of theatrical writing and acting.
As a creator, he has written and directed shows of his own such as Com destruir una casa (Festival Temporada Alta/Sala La Planeta); Articulado ligero (Teatre Tantarantana); Bruels, winner of the Adrià Gual Award (Teatre Lliure/Festival Grec) and Granotes (La Pedrera/Festival TNT/Sala Beckett). He has undertaken commissions for companies such as Unter den Linden (directing Aprendre a nedar, by Sasha Marianna Salzmann, and Amor. Un exercici argumentatiu, by Sivan ben Yishai, both premiered at the Teatre Tantarantana), La Llarga (company for which he wrote the play Llançament, which won the Sala Sandaru Award and premiered at the Sala La Planeta) and Agitart (the company with which he collaborated on the dramaturgy for the dance show Dust, directed by Roger Fernández and which premiered at The Place, London.)
He is also the author of the plays Port llevant (Festival Temporada Alta playwriting trophy); Lume (that won a Sala Beckett writing grant); A la vall (that deserved the Carlota Soldevila creation grant awarded by the Teatre Lliure) and Com es moren els ocells (that was awarded the Carme Monturi0l writing grant by Barcelona City Council).
He has been assistant director to Helena Tornero for the shows Kalimat and El Futur, both premiered at the Teatre Nacional de Catalunya, and to Julio Wallovits at the show Argentinamiento, premiered at the Sala Beckett.
From the year 2016 until 2021 he formed part of the editorial committee of the journal (Pausa.), linked to the Sala Beckett. In the publishing sector he has collaborated with Editorial Vicens Vives and Enciclopèdia Catalana.
Articulado ligero (2021)
Ramon is an actor and has come to tell us his story. He didn’t read it anywhere, he didn’t make it up, he didn’t explain it to a confident on a nostalgic night. Ramon has come to tell us his story, which is also his brother’s story. He has come to explain to us the trip around Europe that they made together some years ago looking for someone who could have been his grandfather. And Ramon has come to explain us that his brother never came back from that trip. That only he came back. And that for a long time he has not talked to anyone about this. This story could be based on real facts, but we will never know for sure. In the same way that we do not know for sure many of the things that our parents and our grandparents lived through. Maybe because they have not explained us those things or maybe because we have not listened to them either. Ramon, with the help of a friend, some old papers and a guitar, will try to reconstruct one of these stories. And maybe he could have written this story in a book, maybe he could have. But he preferred you to come and listen to it.
“Bruel” is a Catalan word. It is the singing of the bittern. A desperate, deep, unspeakable roar. And it is also the roar of two bulls killed in the mud of the marshes many centuries ago. It is the cries of the earth, yes, of the earth, of our earth. In these pages you will find the “bruels” that keep us awake at night against our will. Not all of them, just some. This is the story of a house that was burned down a long time ago. And we will explain to you that inside the burnt house two women were found. Two girls. Embraced. Dead. Calcined. And that no one ever knew that it was Hector who cremated the house. Or maybe they did know. Maybe everybody knew it from the beginning, but nobody ever said a thing.
Lalo is playing a song. And then he stops. And then he starts talking. And he talks about Laura, his girlfriend, and he talks about the apartment they lived in in Santiago de Compostela. And he says that Laura, one day, she left to the Walden Lake, at the north of the United States. And he tells us that she never came back. Lalo also has a box. A box with some stuff that belonged to Laura. A box with some stuff that belonged to Laura that they found on a motel in Concord, a few kilometers away from the Walden Lake. Lalo does not know what Laura was doing in the States. Lalo does not now a thing. But he will try to explain us everything.