It’s almost unbelievable how time passes, with an overwhelming sense of vertigo. Not long ago, we were in the seasons that opened the century, when everything seemed possible, and now, just a breath later, we’re already in the 2025/26 season. That means that, without even realising it, we’ve truly entered the twenty-first century, for we’ve already crossed its first quarter.
It’s like when, in a play, after the first few scenes, you reach a point where you can’t even look back, and you find yourself right in the middle of that reality, and everything sweeps over you.
We like to think that, in the theatre, we can digest such acceleration — relive life folding in on itself for a while in an attempt to understand it better. To tell ourselves what we love and what we miss. Here everything is pretence, but nothing is false. We speak the names of people who don’t exist because they help us put words to what we imagine. A possible reality around us, almost nonexistent, but strengthened because we go to the theatre to discover it. We imagine it and give it shape. It’s our way of surviving the time that devours us. The word spoken, and the one not yet created. It’s the portrait of a crossroads that can only be overcome with the help of others: rebellious stories against oblivion, fear, and silence.
The memory of our craft lives in others. This winter we’ll stage Natale in Casa Cupiello at Teatre La Biblioteca, while La Trena will be at Teatre Goya, MAC MEC MIC at Sant Andreu Teatre, and El Petit Príncep at Paral·lel 62. We’ll travel with A Macbeth Song to Chile, the Czech Republic, stopping by Sant Cugat, Vic, Girona, Valladolid, at Condeduque in Madrid... At La Biblioteca we’ll host Phèdre! based on Racine, in a Swiss production, and the premiere of La nit abans dels Boscos by Koltès, with French direction and performed in Catalan. Cristina Genebat will make her directorial debut at La Biblioteca with En la mesura de l’impossible by Tiago Rodrigues, and meanwhile we’ll settle into Teatre de Sarrià to experience La Nit de les tríbades to the fullest. And while La Tempestat tours the region, we’ll gradually move towards the calm of summer with the mingling of pasts from our collective history in L’Albada, with a young company that will make us want to imagine everything anew. And then we’ll rest, but with one eye already on the next season — with Lorca, Shakespeare, Miller, and…
And before we realise it, many more years will have passed, and we’ll be surrounded by so many characters who are now waiting for us at the edge of what we’ve not yet said, not even thought of saying, but will want to tell ourselves in order to stop time for a moment — if only for the length of a performance.
Oriol Broggi
