Study

Can you look with your hands? How, from art, can we detect the multiple forms of violence and, thus, break the taboos that still exist?
A talk with Paula Bonet.

A journey through the physical and metaphysical conception of the journey, a library of 20th century journalism, drugs and the sublime. An investigation of episodic structure and symbolism.

The artist Frederic Amat is the stage and costume designer at Yerma, with him we will know what it means that the theater is a mirror room and how the scenography transforms the empty space.

Ingrid Marín works at the Teatre Lliure and she is the producer of Yerma. In this chapter we will enter into the theatre's offices and we will see the day-to-day life of a producer.

Eva Behrendt, member of the jury of the Berlin Theatertreffen, questions the old structures of German public theaters, designed for a manner of understanding and enjoying the theater of the 19th and 20th centuries, and proposes new ways of conceiving the public theater, especially from the diversity, both in internal management and programming.

Tena Busquets, artistic director of OlotCultura and the Sismògraf festival, imagines a public theater aware of the territory it inhabits, building networks with other cultural institutions and integrated into the educational system. A space that takes care of, where to make up for everything that does not place life at the center, where to denounce everything that mistreats us or is unfair.

Óscar Cornago suggests that it is the body that enables the notion of reality and fiction. Without the body there is no experience. The body as a transition space between people and things, between subjects and objects, between the real and the imaginary. The place where fictions are born.

Katya Johanson, Australian expert in the relationship between publics and cultural institutions, advocates in this text for a cultural conception from public institutions that should be more local, diverse and also close to the ethical concerns of new generations. This new paradigm must not only be reflected in the artistic programme, but also in the organizational structure of the institution.

Plenary conference by Jordi Prat i Coll where he emphasizes the encounter between creation and the public and reflects on the ideas of public fission or scenic queerness, among others.

An exhibition of the ethical and social uses and behaviours of the French aristocracy before the revolution to better understand the dangerous friendships of Choderlos de Laclos.

Sodja Lotker (playwriter, Commissioner and pedagogue), Serge von Arx (Architect and stage teacher), Xesca Salvà (stage designer and Scenic Artist) and Marc Villanueva (playwriter and stage artist) discuss the concept of deviced theater and sound devices in the bar La Cañada.

Alexandra Laudo (Curator) and Sibylle Peters (scenic artist and researcher) talk about the performance lectures at the Bar El Sortidor.

With Lali Ayguadé, Yerma's choreographer, we'll discover the sense of movement in a four-side stage.

The original musical composition for Yerma was created by Raül Refree, a musician and composer. In this interview, we will find out how it was to compose music for this work and how it is the composer's work.

Anna Cuscó worked in Yerma's performance as a stage manager. In this chapter we will discover what does to be a stage manager mean and how the theater is lived and performed backstage.

At the seminar A peu d'escenari, the Teatre Lliure becomes the object of study for fifteen students who immerse in their programmatic model.

What space exists for the imagination beyond literality and fantasy? How to build complex voices in a world full of noise?
A talk with Borja Bagunyà.
Present and dinamize Marina Garcés and Albert Lladó

What is the difference between the detective's look and the policeman's look? How do we call for estrangement and traces to combat prejudice?
A talk with Shaday Larios.
Present and dinamize Marina Garcés and Albert Lladó

Hortense Archambault, director of the Parisian center MC93, defends in this article the public theater as a safe space to express all the individualities that make up a complex society. A hospitable and exceptional place where it is still possible to welcome controversy with the aim of transforming difference into dialogue.

Plenary conference of Marta Pazos that speaks of the legitimization of intuition, the weighting of the care of life, the connection with the legacy and the deregulation in the dialogue of materials and creative equipment.