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International Festival of Arts and Culture of Castilla Y León

from September 22 to 26. Salamanca

Tuesday, September 22, 2020

FACYL 2020 will have two programming blocks, FACYL EN VIVO (with musical programming, performing arts, workshops, installations and performance) and FACYL ONLINE, an intense programming on the Internet, free access, with the prestige of numerous national and international creators. internationals who have joined this cultural and artistic trip, who will discuss the diversity of creation and the state of culture, providing a plural look to the cultural sphere. The festival thus creates a new, digital, international and shared platform that shows the plurality of creation and cultural mediation.

International Festival of Arts and Culture of Castilla Y León


The FACYL LIVE section will feature theater, dance, music, performance and installations in eight representative spaces of the cultural life and heritage of Salamanca (Casa Lis, Juan del Enzina Theater, Liceo Theater, Patio Escuelas Mayores, Patio Chico , Huerto Calixto y Melibea, Palacio La Salina and Center for Performing Arts and Music). The festival puts on stage 11 live shows with first-rate personalities, among which you can discover the sounds hidden inside a piano, through the genius of the composer and brain of Zeitkratzer, Reinhold Friedl, with his proposal ' Inside Piano '; or else delve into the interactive experience proposed by the artist, director and choreographer Klaus Obermaier, with the show ‘Dancing House’, which will host the Patio de Escuelas Mayores. The collective of creators Clammy invites us to reflect on the prominence of digital platforms on the scene under the title 'A New Time?' And the composer and artist Alberto Bernal will present a specific adaptation for FACYL of the traveling concert 'Mobile', at the frame of the Huerto de Calixto y Melibea. The commitment against racial and gender discrimination and the denunciation of the abuse of human rights will also be present, through works and performances such as the one presented by the visual artist and poet Regina José Galindo, reflecting the situation of so many women murdered in Spain and in other countries such as Guatemala, with his show 'Detrás de la Ventana'.

The contemporary music scene will be represented with performances by Lina_Raül Refree, ONoff Ensemble, Neopercusión and Ensemble Flashback. You will also be able to see the play ‘Qualcosa nascerà da noi’, by Galician Pablo Fidalgo and performed by Juan Loriente or ‘PasdedeuX’, a linguistic research installation that uses discarded elements, conceived for 16 record players and two performers. And among the visual projects that FACYL offers, the talent of the artist Gonzalo Borondo stands out, widely recognized in the international art scene and whose works and installations have toured different museums and public spaces in European cities. His installation ‘NON PLUS ULTRA’, which has been expressly loaned by the Museum of Art of Rome for the festival, will be seen for the first time in Spain.


The FACYL online program offers around 30 activities, among which is 'Conversations about Culture', a program of meetings and dialogues on the web between artists, cultural management professionals and representatives of culture from around the world , with prominent names such as Laurie Anderson, Steve Reich, Meredith Monk, Milo Rau or Thomas Ostermeier, among many others. Theater pieces created to be enjoyed online, an online documentary film cycle and workshops and workshops, both in person and online.

See full program.


The adaptation of the railway ship to cultural equipment selected for the FAD and ENOR 2020 Architecture awards

Wednesday, September 9, 2020

The project consists of adapting Warehouse 3 of the Central Park of València to cultural facilities. The building was rehabilitated prior to this project, the previous works comprising the interventions in the factory enclosures, in the exterior carpentry and on the roof, but lacking the necessary acoustic conditioning for a building in which scenic activities would be carried out, since at that time it was unknown what its use would be. The ship was built in 1917 and is attributed to the architect Demetrio Ribes, being a valuable example of the Valencian railway heritage, with a qualification of Asset of Local Relevance.

An intervention is proposed that allows a great flexibility of use, allowing the performance of different activities simultaneously, respecting the industrial character of the warehouse where the action is registered.

The adaptation of the railway ship to cultural equipment selected for the FAD and ENOR 2020 Architecture awards

The nave is divided into five bays, which will geometrically guide the project. This structural rhythm, as well as the possibility of developing two levels in height, are fundamental in the approach of the proposal.

The warehouse has two entrances from the outside, one in each of the end walls, using the one closest to Philippines Street as the main access, reserving the furthest as an emergency exit and access point for the content of the exhibitions or the scenic material.

Taking the access as a reference, the first bay comprises a lobby space, with the reception, the lockers and the linear vertical communication core behind a lattice formed by train rails. On the upper level there is a multipurpose room, which enriches the transition from the access space to the main space. This small piece is materialized with glass enclosures and a translucent acoustic stretch ceiling, so that the spatial conception of the ship is not lost.

On the ground floor of the second bay, a body is built with the toilets, the facilities room and an office. The roof of this space serves as a support to locate some bleachers, or simply as a platform for use at a high level.

The three remaining bays make room for a multipurpose space that allows the development of different scenic configurations, as well as the organization of exhibitions and activities. This flexibility is achieved thanks to the provision of folding platforms -which will be placed in a second phase of subsequent work to adapt to scenic use- that can be composed of different levels generating an artificial topography, since due to the heterogeneity of the planned contents, It was necessary to be able to have the surface horizontally for exhibitions, a side stage or a configuration with a central stage for other types of scenographies, even a linear series of platforms.

Giving continuity and coherence to the proposal, a perimeter cabinet is projected through which the necessary facilities run to provide service to the whole. This piece of furniture could be defined as a complex container that is deformed by picking up the reception or the lockers, which is decomposed into fragments of a mobile wall that will be support for the exhibitions and which grows by transforming into dressing rooms for the actors and storage spaces. This mobile wall and perimeter cladding also arises from the Heritage requirement to finish the parts of the existing wall that were not intended to be seen. This perforated sheet steel surface contrasts with the original brickwork, while acoustically transforming and conditioning the space for intended cultural and scenic use.

The mobile stands allow to reserve spaces for users with reduced mobility according to their number.

Here are some images of the work carried out by Industrias Maquiescenic, for the installation of a removable and height-adjustable modular stage. The multipurpose room is designed for performances of different kinds; creating a multifunctional space for artistic creativity.

The adaptation of the railway ship to cultural equipment selected for the FAD and ENOR 2020 Architecture awards
The adaptation of the railway ship to cultural equipment selected for the FAD and ENOR 2020 Architecture awards
The adaptation of the railway ship to cultural equipment selected for the FAD and ENOR 2020 Architecture awards


Theater claims culture as essential and appeals to courage

Tuesday, September 8, 2020

After six months of inactivity caused by the pandemic, the performing arts sector met again for the first time this Monday in Malaga, at the XXIII edition of the Max Awards granted by the SGAE Foundation. More than 500 professionals of the performing arts among actors, actresses, producers, playwrights, private entrepreneurs, directors of public theaters, set designers or lighting designers have shared 65% of the capacity of the Teatro Cervantes in a gala directed by Elisa Ramos and Joaquín Casanova , founders of the Andalusian company La Maquiné. A gala presided over by a huge conch shell on a naked stage, under the motto 'the art of listening' and led by the clown Chochote, master of ceremonies of a reunion in which the theater sector has collectively demonstrated its concern for the present and the future.

Culture as a safe space, as an “essential and necessary good”, as “teamwork that appeals to the collective and the public” have been frequent arguments in the speeches of the winners in a ceremony in which the restrictions on capacity have been central to many of the acknowledgments: "Let us fill the theaters as was the plane that brought us to Malaga", pointed out Tian Gombauy when collecting his Max for the best show for children or young people or the dancer and choreographer Manuel Liñán (Prize Max del Público), who said he did not want, in the future, "to design shows for trains, planes or buses." "We are disintegrating culture, the cultural fabric," added minutes later the president of the SGAE, Antonio Onetti, the only one who has addressed more or less explicitly the Minister of Culture, José Manuel Rodríguez Uribes, present at the ceremony. "The pandemic has left the performing arts like a Gruyère cheese, full of holes," added, at his side, the president of the SGAE Foundation, Juan José Solana.

Theater claims culture as essential and appeals to courage

"I dedicate this Max to courage, to that of the people who are going to fill the theaters, and to the courage that the performing arts have always shown", said the composer Luis Miguel Cobo when he picked up one of the three Max that he received the great winner of the night, 'Play', the dance show of the Aracaladanza company. ‘Shock, the condor and the puma’, by Andrés Lima, and ‘Jauría, by Miguel del Arco, both achieved two of the three blocks of Brossa for which they were eligible. The other great favorite, 'Como los Greegos', by Josep María Mestres, who was competing for three awards, has left empty-handed. Lima, director of 'Shock' and National Theater Award, collected his Max for Best Stage Direction recognizing that "we are in a difficult moment, not to say screwed up, and we need audacity to move forward" and dedicating the award "to all the disappeared of all the dictatorships of all the shocks and their mothers, in Spain, in Chile, in Argentina, but above all to the memory of a person who has been very present in this montage, the memory of Salvador Allende ”world already his parents, but above all to the memory of Salvador Allende”.

A gala neither too long nor too funny in which, in addition to the claims about the effects of the pandemic, there has been room for humor, which the actress Verónica Forqué took to the stage: “I don't really know who gives me this, but I'm very excited ”, said the Forqué when picking up his Max for best leading actress for his role in the play 'The things that I know are true', a text by Andrew Bowell directed by Julián Fuentes Reta. The actress took the opportunity to take away the seriousness of the gala: "I never get excited like that, it's drugs, my mother must be freaking out, long live the republic, Mommy", dressed in a dress printed with vaginas and nipples, and one of those bands that usually bring women who participate in beauty pageants, but with the questions: “How many seats are going to be occupied today by black or racialized actors or actresses? What visibility do racialized people have in Spanish industry?"

List of winners

  • Best Theater Show: Jauría (Kamikaze).
  • Best dance show: Gran Bolero, de Jesús Rubio Gamo.
  • Best musical or lyrical show: Doña Francisquita (Teatro de la Zarzuela)
  • Best street show: Al otro lado (Zanguango)
  • Best show for children, youth or families: Zapatos nuevos (Tian Gombauy LEl Teatre de l’home dibuixat)
  • Best Breakout Show: El viento es salvaje (Las niñas de Cádiz)
  • Best Theatrical Authorship: Josep Lluís y Rodolf Sirera (Dinamarca).
  • Best Revelation Authorship: Marta Arán (Todos los días que mentits)
  • Best adaptation or version of a play: Jordi Casanovas (Jauría) y Joan Sellent (Como los griegos).
  • Best Stage Direction: Jordi Casanovas (Andrés Lima (Shock. El Cóndor y el Puma)
  • Best Leading Actress: Verónica Forqué (Las cosas que sé que son verdad).
  • Best Leading Actor: Lluís Homar (La nieta del señor Linh).
  • Best female dance performer: Olga Pericet (Un cuerpo infinito).
  • Best Male Dance Performer: Marco Flores (Origen).
  • Best Musical Composition for Stage Show: Luis Miguel Cobo (Play)
  • Best Choreography: Sara Cano (Vengo).
  • Best Stage Space Design: Beatriz San Juan (Shock. El Cóndor y el Puma).
  • Best Costume Design: Elisa Sanz (Play).
  • Best lighting design: Pedro Yagüe (Play).
  • Max amateur or social award: Escuela Municipal de Teatro ‘Ricardo Iniesta’ de Úbeda.
  • Max Audience Award: ’Viva’, de Compañía Manuel Liñán.
  • Max Honor Award: Nacho Duato


The first theater on Gran Vía reopens with a tribute to Michael Jackson

Tuesday, August 11, 2020

The EDP Gran Vía Theater is the first to open its doors after the pandemic and it does so with the show 'I WANT YOU BACK', a tribute to the King of Pop

The first theater on Gran Vía reopens with a tribute to Michael Jackson

The 'Madrid brodway'. Because of its theaters and musicals, this is how many nicknamed the emblematic Gran Vía de Madrid. At the beginning of the pandemic, theaters closed and all shows were canceled. On August 5, the EDP Gran Vía Theater was the first to reopen its doors with the Michael Jackson tribute show, 'I WANT YOU BACK'.

The first show was even more special, since the theater seats were occupied by health workers, policemen, transporters, cleaning personnel and supermarket personnel. For Noemí Montes, its producer, it is a way of paying tribute to the groups that have worked during these months against Covid19.

The team has not been on stage for almost 5 months and has not heard the applause of the public. Due to the different phases of the de-escalation according to the provinces, the musicians and dancers have only been rehearsing together for two weeks. Adrián Álvarez is the dancer who gives life to Michael Jackson on stage, but during the confinement he has not stopped working: "I have had online classes with one of the dancers from the show 'This Is It'", he is grateful for being able to put on Practice that knowledge and get a chance to represent your idol.

The 'I WANT YOU BACK' team have been the first brave ones to resume the shows, but the functions will be carried out in compliance with all safety and hygiene measures. At the entrance there are several hydroalcoholic gels available to the public and the entrances and exits of the theater will be duly controlled to avoid crowds. In addition, the rooms are disinfected before and after each performance, and in each seat there is a QR code for spectators to download the brochures of each show.

Masks are, of course, mandatory at all times. Even the dancers and the rest of the cast wear them during rehearsals. In addition to the masks, Gonzalo Pérez, producer, explains that PCRs are carried out on the entire team: "they were done yesterday on the entire company, technicians and theater personnel, and they all tested negative."

With its name, 'I WANT YOU BACK', the show seems to encourage us to refill theaters, musicals, movie theaters and, ultimately, to enjoy culture as before. From August 5 to September 27, Adrián, our Michael Jackson, encourages the public to go see the musical, "a dream" for all audiences.

The pandemic opens a new theatrical era

2020 July 9, Thursday

Outstanding creators reflect on the formats that emerged in the quarantine, a mix of performing and audiovisual arts. The CDN bets on ‘streaming’ and HBO announces a hybrid series

The pandemic opens a new theatrical era

The coronavirus pandemic has opened a new era in the performing arts. The months of confinement have fostered an unexpected relationship of this ancient thousand-year-old art with audiovisual and digital technologies that have lit hybrid formats, which drink as much from theatrical, cinematographic and television language, to which no one yet dares to label, but with many possibilities for the future. Not only have hundreds of films from shows performed in the past been published, but many artists have set out to create new works specifically designed for online display.

The exploration has been so fruitful that now that the activity is returning to the stage, no one is considering abandoning it. This same Tuesday, the HBO Spain television network announced a project in this line led by Irene Escolar and Bárbara Lennie, two renowned actresses both in theater and cinema, who also participate as producers. They do not want to give details yet, only that it will be an anthological series of six episodes that will mix both disciplines and that will air in the fall, grouped under the title of Scenario 0.

In the world of the scene there are also movements in this regard. The main theaters in the world have already announced their intention to maintain "virtual rooms" in the future as a complement to their face-to-face programming. One of them is the Centro Dramático Nacional (CDN), the largest Spanish public production institution, which has devised a cycle of works written expressly to be viewed in streaming, in which it has involved big names on the national scene. Starting with its director, Alfredo Sanzol, who inaugurated the cycle on June 26, up to Juan Mayorga, Pablo Remón, Lucía Carballal, Pau Miró, Denise Despeyroux, Andrea Jiménez, Noemi Rodríguez and Victoria Szpunberg, in addition to twenty outstanding actors.

The cycle is made up of nine short pieces written in the last two months that are grouped into three shows around three concepts related to the pandemic and that give each one its title: The Shock, The Distance and The Uncertainty. They are represented behind closed doors before several cameras for their live broadcast on the Internet, something unimaginable four months ago.

How to call this? How is it different from any other audiovisual creation? And of the face-to-face theater? EL PAÍS gathered last week at the María Guerrero theater in Madrid (CDN headquarters) six of the creators participating in the cycle to collect their impressions. The main one is that everyone feels they are learning a new language about which there is nothing written. A mestizo genre that breaks the seams of theater and audiovisual creation.

“I had never seen the stage with the intensity with which I have seen it in this work. The fact of using the camera not from the audience's shot as it would be done in a traditional recording but following the actors gave me an unexpected freedom, to the point that I decided to expand the stage: I realized that I could use the dressing rooms, the patio of seats, the entire theater ”, summarizes Sanzol, whose work reflects his own experience as a patient with coronavirus. The fever, the bewilderment, the fear.

Pablo Remón, who in addition to being a playwright and director, is a renowned screenwriter, confesses that he has given many turns to the format. “Precisely because I have worked a lot in the cinema, I am suspicious of the image in the theater. If there is a camera, the camera commands. And precisely what I like about the theater is that the image is not given, but is built on the viewer's head. So what I have tried the most to keep in my piece for this cycle is the metaphor, the invitation to the imagination ”, Remón explains.

Something similar happened to the playwright Lucía Carballal, who is also a screenwriter for film and television. “Until now I have always had theatrical and audiovisual language very far apart in my head. I think they are very different techniques and I have had a hard time mixing them. The truth is that until I see it from a distance, I will not know what I have done. What I can say is that my work begins in a hyper-realistic way, as any television series would, but then it evolves towards a more metaphorical language, "says Carballal.

The metaphorical dimension of the theater seems to be key. Sanzol also underlines it: “Unlike cinema, where the places where the scenes take place are literal, in the theater the space is always imaginary, clearly the actors are on a stage and we have to imagine that they are where they say they are. . That triggers the language and the possibilities of using the camera ”.

"How absurd! How stupid it is to give our soul to an empty theater! ” It was the first thing that the duo formed by Andrea Jiménez and Noemi Rodríguez thought when they received an offer from the CDN to write and direct a piece within this cycle. “But we soon realized that this contradiction revealed something wonderful: the empty theater is the mirror of what has happened to society in these months, the encounter that cannot happen. And the closed-door function is in some way the representation of what each person has experienced in their home during the confinement ”, reflects Jiménez. Rodríguez adds: "That is why perhaps a self-referential work has come out on the question of how to make theater in this new era, which in reality is the same thing that anyone in any field asks: how do we approach others now?" .

Denise Despeyroux, author of one of the three pieces that make up The Uncertainty, has also used metaphor and has used science fiction to write her piece. “During the confinement I have read and heard so many people (including philosophers that I admire) issuing sentences about what the future is going to be like from now on, that when I started writing I felt the need to distance myself. I think it is difficult to write about what has happened to us while still having it so close. Since the theater allows you to fly anywhere, I decided to place my work in another galaxy, ”says the playwright.

And how does an actress feel performing a play in front of an empty theater? Fernanda Orazi, one of the protagonists of The Shock, speaks: “I didn't think about it during rehearsals. I didn't realize it until the cameras started coming, so the previous work was the same as always. But the day we finally broadcast the show live, I couldn't imagine the viewers in their houses and I felt a kind of grief that emanated from the empty armchair patio. For me it was like giving the theater a mouth-to-mouth breath so that it lasts until we return. ”


Cirque du Soleil files for bankruptcy hit by pandemic

2020 June 30, Tuesday

The company carried a debt of 800 million euros. It will fire 3,480 employees, ask for protection against creditors, announce a restructuring and assure that it will return.

Cirque du Soleil files for bankruptcy hit by pandemic

Canadian company Cirque du Soleil, one of the largest and best-known entertainment companies in the world, filed for bankruptcy due to the devastating effects of the COVID-19 crisis. It will lay off 3,840 employees, 95% of its staff, will establish funds of $ 20 million (17.8 million euros) to compensate staff and contractors. It also faces suspension of payments.

However, Cirque du Soleil promises that this is not a definitive goodbye and that it intends "to rehire a substantial majority of the dismissed employees, when economic conditions allow, once the mandatory closings are canceled and can restart operations. "

Forced to cancel the 20 shows she had spread around the world since the start of the pandemic, she has been unable to resist the harshness of the devastating effects of inactivity. Among the 20 shows in progress, was the one dedicated to Leo Messi, 'Messi 10', which was on the bill in Argentina and which premiered last year in Barcelona.

The complicated financial situation was not new for the entertainment company, which the pandemic has taken on board. The company carried a debt of about 900 million dollars (800 million euros), as a result of the 2015 agreement valued at 1,500 million dollars (1,335 million euros) by which the American investment fund TPG took a majority stake of the company.

The company's stake is divided as follows: the investment fund TPG has 55%, Fosun controls 25% and the financial institution Caisse de Depot et Placement du Quebec, the remaining 20%.

The company clarifies that bankruptcy does not represent the end of Cirque du Soleil. In a statement, it announced that it has requested judicial protection against its creditors and that it has requested to restructure the company in order to return to business. This is what he says on social networks. "For now, our performances are stopped, but this is only an intermission. Soon the spotlights will return, illuminating the stage and sounding an echo of cheers, not only from the audience, but also from the stage. As we celebrate our return together. As sure as The sun rises every day, Cirque du Soleil will return, brighter than ever. "

Festivals return after the health crisis

2020 June 5, Friday

Festivals return after the health crisis

The Canal Theaters begin their countdown: they will open doors on June 17

"Madrid en Danza" will celebrate its XXXV edition with the reopening of the theaters in the community of Madrid.

Madrid Dance Festival

The Teatros del Canal join the return to the gradual cultural normality in the region. After the closure caused by the COVID-19 crisis, the Community of Madrid taking advantage of phase 1 to reopen this emblematic stage space in Madrid, starting on June 17. A decision that makes it the first theater in the region and one of the first in Spain to raise the curtain after confinement. The activity of the Teatros del Canal will begin with the 'Madrid en Danza' festival, which this year celebrates its XXXV edition under the direction of the dancer and choreographer Aída Gómez.

A return, at the very least, poetic, since the Teatros del Canal were the last to lower the curtain. They endured, as the Regional Government's Minister of Culture and Tourism, Marta Rivera de la Cruz, recalled, "until the last moment," and "we always said that we would open as soon as possible." So it has been. De la Cruz assures that, for the return, it is essential to act with "responsibility on the part of all." Madrid's collaboration, patience and love to face this new stage. "

The delegate recognized that, with this, one enters "a terrain that we do not know", and the important thing is that the activity can return "with all possible guarantees". In this way, the reopening of the center will take place under strict safety and hygiene measures, through a protocol created for this purpose and that guarantees the safety of both the public and its workers. A protocol for the implementation of which the director of the Canal Theaters, Blanca Li, has been in contact with other European theaters, carefully following the proposals that have been made in this matter.

Among other measures, the use of masks inside the enclosure will be mandatory, the capacity will be reduced and the tickets will be in digital format. "The Canal Theaters will act as a laboratory in this era of post-COVID performing arts," said the counselor. "Everything we learn we will share, of course, with all the public and private theaters that demand it."

Almagro International Classical Theater Festival

Almagro International Classical Theater Festival

Rosa Ana Rodríguez, Minister of Education, Culture and Sports, has shown the satisfaction of the regional government for the decision taken last June 3 at a telematic meeting of the Festival Foundation to celebrate the festival this year despite the health crisis caused by Covid-19.

And it is that, within this Foundation to which the Ministry of Education, Culture and Sports belongs, it has been decided that the 43rd edition of this International Festival will take place, always respecting the rules established by the health authorities, from 14 to 26 of next July.

Rodríguez explained that this year's will be a special edition, in which there has been a substantial adjustment both in dates and in the programming handled at first. Remember that it was originally planned to be held from July 2 to 26.

The GREC prepares an especially inclusive and Balearic edition

Wednesday, May 20, 2020

The GREC prepares an especially inclusive and Balearic edition

In the midst of the COVID-19 crisis, the Grec Festival in Barcelona reinforces its support for the Barcelona and Catalan artistic fabric with a program of some eighty shows especially focused on local creation, an inclusive character that translates into a reduced price, a commitment for new formats and a location especially focused on the Montjuïc mountain.

These are some of the decisions announced at a press conference by the Deputy Mayor for Culture, Education, Science and Community, Joan Subirats, and the Delegate for Cultural Rights, Dani Granados. Both have announced that the Grec Festival in Barcelona maintains its budget of 3.3 million euros, a figure that will serve to offer support to local companies and artists, to continue collaborating with city agents such as public and private theaters, producers or diverse cultural spaces, to present many productions that will be seen during the next theatrical season and, ultimately, to boost the sector at a particularly delicate moment.

At the Grec we will be able to see some fifty festival co-productions this year with local artists and companies, to which will be added fifteen shows from the current season that should have been staged these days but have had to be canceled due to the COVID-19 crisis. The program completes a fortnight more shows from outside Catalonia.

Given the exceptional situation we are experiencing and its impact on domestic economies, the programmed shows will have a single price of 15 euros, which will be reduced to 5 euros in the case of family shows.

What spaces will the performances host when they take place physically? Mainly, the public stages that are located in the Montjuïc mountain, starting with a Teatre Grec that will reopen with the conditions set by the health authorities this summer.

Other publicly owned theaters on the Montjuïc mountain, specifically the Mercat de les Flors and the Teatre Lliure, will enable the larger rooms to host many of the shows that had originally been scheduled in smaller spaces. The Teatre Nacional de Catalunya will also host performances but also city museums such as the Museu Nacional d'Art de Catalunya, the Center de Cultura Contemporània, the Museu d'Art Contemporani de Barcelona (MACBA), the Born Center de Cultura i Memòria and the Museu Marítim de Barcelona, will become stages of the Grec, since they are venues that allow easy control of access and capacity.

Given the exceptional nature of the health crisis we are experiencing and the appearance of proposals that explore new stage formats, the Grec Festival in Barcelona will also offer online stage activities and experiences. Likewise, many of these proposals will become part of an archive that will guarantee their maximum dissemination.

If, in any case, some of the productions planned at the Grec could not be performed during July or August, they would integrate a new program, De Grec a Grec, which would allow them to be performed later in theaters and festivals, always with the label of Barcelona festival.

Finally, spectators are reminded that last Christmas they bought the festival's 2020 Gift Voucher that they can choose to exchange their voucher for tickets, as planned, or to refund the amount of the purchase. These viewers will soon receive an email at the email address they provided during the purchase process, with instructions on how to proceed in one case or another.

Performing arts from the sofa to celebrate World Theater Day 2020

2020 March 23, Monday

Performing arts from the sofa to celebrate World Theater Day 2020

The theaters lowered the curtain, because it is time to stay at home, enjoy activities at home, books, movies, series ... in the company of family and neighbors.

This time can also be used to discover that culture forgotten by many, the one that in a few days celebrates a very particular and strange edition of its most international day. The World Theater Day and the performing arts in general.

For this Teatroteca, puts completely free more than 1,600 works, dances and shows through its platform. It is her way of opening the curtain again, of giving voice to the art of the stage and of making it reach our screens with a simple subscription.

This initiative was a complete success as the number of subscribers increased by 10% between Friday, March 13 and Sunday, 15, thus collapsing the platform and making it difficult to access.

More data that speaks of this success among the population is that since the curtain fell for a time, the request for works on this platform has tripled.

And yes, since nobody escapes them, these days they are going to fight. "We live a challenge as a society these days, yes, but that challenge is made up of millions of individual challenges, that is, the way in which each of us will face this crisis. And from that, from that struggle and from the individual in crisis , whether to overwhelm, make us laugh, sing or put our customs, greatness and misery before our eyes, the theater treats. An art by definition collective, on the other hand. For all this, at a time when we need each other so much The stage is an impressive source of vital and moral energy for everyone. "


Teatroteca was born as a research platform and has been open to the public since last year. It works as a library loan system: you register and "reserve" the work you want to see and to which you will have access for two days and then "return" it to the platform.

What if the video we want is already loaned to another user? That we will have to put ourselves on the waiting list until it is available again. In fact, given the high demand that the platform is registering, the CDAEM has proposed that users of this service return the borrowed titles as soon as they are seen, so that more viewers can access them.

Among the more than 1,600 pieces, not only adults will be served with great classics and recent works, but also the smallest of the house who will be able to enjoy puppet theater, musical works, staged tales, groundbreaking versions of traditional stories. , works based on the image with hardly any text ...

"On the main page of the Teatroteca we have created a section, Theater for Children, with some of these works. Among them are companies that have obtained the National Prize for Theater for Children and Youth, and great professionals of this genre. They are not only those seen on the main page, there are more in the catalog that is accessed through the search engine, "say Javier and Berta.

Performing arts from the sofa to celebrate World Theater Day 2020

Much is being said about children and little about adolescents. However, from CDAEM they have not forgotten them and have created a section called Theater for young people. "Young people between 12 and 14 years old can see stories represented on topics that interest them, both those that have been written expressly for them and those of the universal theater that interest us and affect all of us."

Because, as Javier and Berta emphasize, "seeing theater on the screen is a good way to get started in the knowledge of this art, fundamental in our culture, and also to reflect on human behavior. And also to have fun and laugh at us themselves, which after all is one of the fundamental elements of comedy (there are many comedies in this Theater, by the way) ".

Getting started in an art is very good and also laughing at yourself; but the theater goes further, the theater teaches us empathy, humanizes us. "It helps us understand the behavior of others and therefore humanizes us; it makes us smarter, more flexible, more permeable. It is very necessary in these times when fanaticism and rigidity appear where least expected. And Being familiar with this art since childhood is not a small thing, "they conclude.

In addition, the Documentation Center for the Performing Arts and Music has made available to users the digital magazines Figuras, Arriba el Telón and Don Galán where you can read interviews with different creators and managers of the performing arts.

Access Teatroteca

World Theater Day 2020 message, by Shahid Nadeem

2020 March 12, Thursday

World Theater Day 2020 message, by Shahid Nadeem

The International Theater Institute (ITI) has released the World Theater Day Message for 2020, authored by award-winning Pakistani playwright Shahid Nadeem, founder and director of the Ajoka Theater.

Theater as a sanctuary

"At the end of a performance of Ajoka's play on the Sufi poet Bulleh Shah, an old man, accompanied by a boy, approached the actor who had played the role of the great Sufi." My grandson is not well, Could you bless him? "He said. The actor was shocked and replied," I am not Bulleh Shah, I am just an actor playing the part. "The old man then replied," Son, you are not an actor, you are a reincarnation of Bulleh Shah. , his Avatar.

Suddenly, we came up with a completely new concept of theater, where the actor becomes the reincarnation of the character he plays.

Exploring stories like Bulleh Shah's, stories like this exist in all cultures and can become a bridge between us theater creators and an unknown but enthusiastic audience.

While performing on stage, we sometimes let ourselves be carried away by our philosophy of theater, in our role as pioneers of social change we sometimes leave behind much of the community.

In our commitment to the challenges of the present, we deprive ourselves of the possibilities of a deeply moving spiritual experience that theater can provide.

In today's world where bigotry, hatred and violence are on the rise, our planet is sinking deeper and deeper into a climate catastrophe, we need to replenish our spiritual strength.

We need to fight against apathy, lethargy, pessimism, greed and contempt for the world we live in, for the planet we live on.

The theater has a role, a noble role, it must energize and advance humanity, help it to rise before it falls into an abyss.

The theater can turn the stage into a temple, the performance space, into something sacred. In South Asia, artists reverently touch the stage floor before stepping on it, an ancient tradition in which the spiritual and the cultural were intertwined.

It is time to recover that symbiotic relationship between the artist and the public, the past and the future. Making theater can be a sacred act and actors can become the avatars of the roles they play. "

Yahaira SALAZAR, playwright, ITI Center Venezuela.

ITI International Theater Institute.
World Organization for the Performing Arts.

March, a very marked month for the Performing Arts

2020 March 2, Monday

March, a very marked month for the Performing Arts

World Theater Day is celebrated on March 27. It was created by the International Theater Institute (ITI) in 1961.

During this day, acts and events related to the scene are celebrated all over the world. One of the most important is the international message from a world-class figure at the invitation of the ITI. In this message, a person of relevance shares his reflections on culture and theater.

The first time that World Theater Day was celebrated, in 1962, it was the French poet, playwright and filmmaker Jean Cocteau who delivered the famous International Message for World Theater Day. Later, other prominent names followed him such as Arthur Miller, Laurence Olivier, Pablo Neruda, Richard Burton, Antonio Gala, Humberto Orsini, John Malkovich or Darío Fo.

The International Theater Institute encourages all of society to celebrate World Theater Day: theaters, performing arts centers and institutions, universities, government institutions, ministries of culture, professionals or theater lovers from all over the world are invited to celebrate World Theater Day.

The ITI recommends that individuals and institutions wishing to organize a World Theater Day celebration contact the ITI Center or Cooperating Member in their country or region. The list of members' addresses can be found in the directory on the website If someone organizes an event and sends the information to, the event will appear on the website of the ITI International Theater Institute. You can also read / listen to the message of the chosen speaker and spread it through social media using the hashtag #diamundialdelteatro

The objectives of World Theater Day are:

  • Promote theater in all its forms around the world.
  • Raise awareness of the value of theater.
  • Allow the theater community to promote its work on a large scale, so that governments and opinion leaders are aware of the value and importance of theater in all its forms, with the aim of obtaining more support.

It is a good day to remember the wise words of Federico García Lorca:
« Theater is poetry that rises from the book and becomes human. And when she becomes human, she talks and screams, cries and despairs ».

24 Festival de Jerez 2020

2020 February 20, Thursday

24 Festival de Jerez 2020

The Jerez Festival offers a wide and qualified display of the most genuine and significant artistic manifestation of this Andalusian city: flamenco. The Jerez Festival makes a dedicated commitment to the creative evolution of flamenco, to the development of its expressive forms and to the modernization - from tradition - of its languages.

The Festival encourages encounters and miscegenation, supporting the creative activity of artists determined to find new aesthetic and expressive paths for flamenco in the 21st century.

From February 21 to March 7, 2020, the 24th edition is held at the Villamarta Theater, Sala Compañía, Sala Paúl, Bodega González Byass ...

To see the complete schedule, locations and subscriptions enter this link.

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