We're a company, we're a production CENTER,
we're a theater.
La Perla 29 is a space of free creation, an emotion, a moment OF GULPING.

Perla 29 is a centre of creation and theatre management from which we want to work freely and willingly. Born in Barcelona in 2002 as a stage creation platform, it has become one of the reference centres of the Catalan theatre scene with a strong international projection. Thanks to the effort and continuity we have built a solid team linked to the Teatre La Biblioteca, a unique and very praised theatre space.

With its own theatrical aesthetics, the artistic direction of Oriol Broggi and the management led by Bet Orfila move together to make each new show artistically stimulating and at the same time optimise the resources of each production.

This way of understanding the theatrical profession results in very personal and meticulous shows, which are widely recognised by the public and the critic, both locally and internationally.

We're a company, we're a production center, and we're a theater space. And halfway through all these three. We are a management model, where art and production move forward together for each show. We're a stable team and we're a constellation of artists. We're a way of doing and understanding theater.

timeline
2023
Coralina, la serventa amorosa, by Carlo Goldoni.
2023
Els Amics de La Perla 29 celebrate the organization's 10th anniversary and resume the bond with the company and the cultural hub that has been growing over the years.
2023
La Perla 29 celebrates its 20th anniversary. Restaging of the company's first show: Els ulls de l'etern germà, un dilema d’Stefan Zweig, directed by Oriol Broggi.
2023
Els ulls de l'etern germà, un dilema d’Stefan Zweig, is revived.
2022
First edition of the Festival Encalma, emerging music at Teatre La Biblioteca.
2022
La Trena, a project by Clara Segura, Marta Marco, Cristina Genebat, and La Perla 29, receives an excellent reception from the audience across the region and is restaged the following year at the same Teatre Goya. Laetitia Colombani visits the company and celebrates the stage adaptation of her successful novel.
2022
Orgull, adaptation of the text by Fyodor Dostoevsky made by Andreu Benito and Oriol Broggi.
2022
La Perla 29 rents an industrial warehouse in Tona to use it as a storage space for all the stage scenographies.
2022
Unes abraçades insuportablement llargues, by Ivan Viripàiev.
2022
La Perla 29 consolidates itself as an international company with the premiere of 28 i mig at the Théâtre National de La Colline in Paris, invited by Wajdi Mouawad. Upon returning from Paris, the show is programmed at the Grec Festival 2022.
2022
28 i mig, a revival of the previous creation show.
2021
Birnam, by Víctor Sunyol.
2021
La Perla 29 starts the ambitious project of transforming the Aribau Cinema in Barcelona into a temporary theater that hosts the tragedy of William Shakespeare: Hamlet Aribau.
2021
Hamlet Aribau, by William Shakespeare.
2021
Clara Segura wins the Butaca Award for best leading actress for Filumena Marturano.
2021
Filumena Marturano, by Eduardo De Filippo.
2021
Canto jo i la muntanya balla, directed by Guillem Albà and Joan Arqué, wins 8 Butaca Awards and 3 Max Awards.
2021
Canto jo i la muntanya balla, adaptation by Clàudia Cedó based on the novel by Irene Solà.
2021
An agreement is reached with the Ajuntament de Barcelona to secure the lease of the Teatre La Biblioteca for the next 8 years
2020
La guerra no té rostre de dona, based on texts by Svetlana Alexievich and compiled by Clara Segura and Oriol Broggi.
2020
Assedegats, by Wajdi Mouawad.
2020
The offices of La Perla 29 move from Gràcia to El Raval, located at C/Carme, 44 in Barcelona, near the Teatre La Biblioteca.
2020
The world is confined to their homes, and La Perla wonders about the transformations that theater will have to endure now that everything seems to have been reduced to ruins. Resist-Renew-Reopen.
2020
Només la fi del món, by Jean-Luc Lagarce.
2019
Això ja ho he viscut, by J.B. Priestley.
2019
Un, ningú i cent mil, by Luigi Pirandello.
2019
La Reina de la bellesa de Leenane, by Martin McDonagh.
2019
La bona persona de Sezuan, by Bertolt Brecht, al TNC.
2018
4D Òptic, by Javier Daulte.
2018
First international leap. The Printemps des Comédiens Festival in Montpellier includes Bodas de Sangre in its program.
2018
 La Perla 29 is responsible for inaugurating the Festival Grec 2018 with El Poema de Guilgamesh, Rei d'Uruk.
2018
El Poema de Guilgamesh, Rei d'Uruk, an adaptation by Jeroni Rubió and Oriol Broggi.
2018
Sopa de pollastre amb ordi , directed by Ferran Utzet, wins the Butaca Award for best production.
2017
Boscos, by Wajdi Mouawad.
2017
L'Hostalera, by Carlo Goldoni.
2017
Wajdi Mouawad and Oriol Broggi have a public conversation at the Teatre La Biblioteca.
2017
First edition of the Festival Escenes de Filosofia i Teatre, with La Maleta de Portbou. Editions of this festival will continue to take place year after year.
2017
Bodas de Sangre, directed by Oriol Broggi, goes on a successful tour throughout Spain.
2017
Bodas de Sangre, by Federico García Lorca.
2016
Un obús al cor, by Wajdi Mouawad.
2016
Caïm i Abel, by Marc Artigau.
2016
Els cors purs, by Joseph Kessel.
2016
Dansa d'Agost, directed by Ferran Utzet, wins 4 Butaca Awards.
2016
Dansa d’Agost, by Brian Friel.
2015
Al nostre gust, a creation by Oriol Broggi and Marc Artigau.
2015
La Perla Petita is born, the theater and pedagogy project of La Perla 29.
2015
Una giornata particolare, based on the film by Ettore Scola.
2014
Cels, by Wajdi Mouawad.
2014
Translations, by Brian Friel.
2014
The first season of El Petit Príncep premieres at the Sala Barts, a production by La Perla 29, Àngel Llàcer, and Manu Guix. It wins the Butaca Award for best family show.
2014
El Petit Príncep, based on the story by Saint-Exupéry.
2014
L'Orfe del Clan dels Zhao wins 7 Butaca Awards, including the best production award. Directed by Oriol Broggi, at the Teatre Romea.
2014
L'Orfe del Clan dels Zhao, based on the text by Ji Junxiang.
2013
First edition of the Festival Shakespeare at the Teatre La Biblioteca, which will be held two more times.
2013
Jaume Sisa, Juan Marsé, and La Perla collaborate to create Adiós a la infància, un aventi de Marsé, a co-production with Teatre Lliure.
2013
Adiós a la infància, un aventi de Marsé, by Pau Miró and Oriol Broggi, based on texts by Juan Marsé.
2013
28 i mig, a creation by Oriol Broggi.
2013
The association of spectators Amics de La Perla 29 is created, becoming an interfiering agent in the company's creative processes and cultural activities.
2012
Cyrano de Bergerac is during two seasons in Barcelona and also at the CDN Teatro Valle-Inclán in Madrid
2012
Cyrano de Bergerac, by Edmond Rostand, directed by Oriol Broggi.
2012
Incendis, directed by Oriol Broggi, becomes a theatrical phenomenon and solidifies La Perla 29's theater project throughout the territory. It is programmed again the following year at the same Teatre Romea and in 2015 at the Teatre La Biblioteca. It wins 6 Butaca Awards, including best production and best firection.
2012
Incendis, by Wajdi Mouawad.
2011
Oriol Broggi wins the Ciutat de Barcelona Award for his management of the Sala de Llevant at the Biblioteca de Catalunya and for directing the shows Natale In Casa Cupiello and Luces de Bohemia.
2011
Luces de Bohemia, by Ramon María del Valle-Inclán.
2011
Tonio, el poeta, by Thomas Mann.
2011
La Presa is Ferran Utzet's first show at the Teatre La Biblioteca.
2011
La Presa, de Conor McPherson.
2010
Questi Fantasmi: A co-production of La Perla 29, Festival Grec 2010 and the CDN María Guerrero in Madrid.
2010
Questi Fantasmi, by Eduardo De Filippo.
2010
Natale In Casa Cupiello, co-produced with CAER in Reus, becomes a success and is reprised for the following three years.
2010
Natale In Casa Cupiello, by Eduardo De Filippo.
2009
The communications department of La Perla 29 is created, which will promote the theater project and establish a closer relationship with the audience.
2009
Hamlet, with the premiere at the Teatre La Biblioteca, directed by Oriol Broggi, wins the Butaca Award for best small format production.
2009
Hamlet, by William Shakespeare.
2008
L’Home de la flor a la boca, by Luigi Pirandello.
2008
El Rei Lear, by William Shakespeare.
2008
Hedda Gabler, by Henrik Ibsen.
2007
L’oncle Vània, by Anton Txékhov.
2007
Passat el riu, by Joe DiPietro.
2007
El carter del Rei, by Rabindranath Tagore.
2007
Rosita, història d’una florista, by Bernard Shaw.
2007
First full season at the Biblioteca de Catalunya with L'oncle Vània, L'home de la flor a la boca, Hedda Gabler, and El rei Lear.
2006
King, a partir del text by John Berger.
2006
Somriure d’elefant, by Pau Miró.
2006
Rosencrantz i Guildernstern són morts, by Tom Stoppart.
2006
La Perla 29 moves to its new offices and rehearsal space at C/Torrent d'en Vidalet, number 21. They will be active until 2020, and will be remembered by many professionals as a good meeting and working place.
2006
The company moves to the Biblioteca de Catalunya. First show in the library's hall: "Antígona." The production wins two Butaca Awards for best direction and best production.
2006
Antígona, by Sòfocles.
2005
Amor, Fe i Esperança, by Ödön Von Hórvath.
2005
La mort d’Ivan Illitx, by Lev Tolstoi.
2005
The structure of La Perla 29 is consolidated with the first expansion of the production department.
2005
For the first time, the company sets foot in the Biblioteca Nacional de Catalunya with El Misantrop, directed by Oriol Broggi. The show takes place on the second floor of the building, taking advantage of the festivities of the Year of the Book, thanks to the help given by Dolors Lamarca.
2005
El Misantrop, by Molière.
2004
Els fusells de la senyora Carrà, by Bertold Brecht.
2003
Històries de Teatre, directed by Oriol Broggi, with Rosa Gàmiz. The first of a series of family shows by La Perla 29, which would eventually become the embryo of La Perla Petita.
2003
Liliom, by Ferenc Mólnar.
2003
Refugi, by Jessica Goldberg.
2002
First production by La Perla: Els ulls de l'etern germà, un dilema d’Stefan Zweig. Directed by Oriol Broggi, with Òscar Muñoz, Bruno Oro, and Marc Serra. At the Sala Beckett.
2002
Els ulls de l'etern germà, based on the text by Stefan Zweig.
2002
In March 2002, on C/La Perla, number 29, in the neighborhood of Gràcia, Barcelona, La Perla 29 and El Pas 29 are born. It is created by Oriol Broggi, Bet Orfila, Juli Macarulla, Carlota Subirós, Jordi Basomba, and Xavi Gonzàlez.
Project
  • Proximity aesthetics

    We have always been convinced that great stories, may they be the oldest or the most contemporary, have the strength to reach the depths of the spirit. Theater is our way of looking at the world and talking to it, of sharing it. We have created a close, detailed and actor-based theatre, born from the exchange between different experienced voices, and where the audience accomplices to the process, a very unique treat of La Perla 29.

    From our beggings we have opted for repertory theatre, approached great texts without complexes, with a particular look, inspired by the words of great dramatists of the past and the present. This same concern has led us to make new creation shows from non-theatrical texts; adaptations of poetry and narrative to the dramatic form, which allow us to rediscover the ancient art of the theatre.

    It is difficult to define what 'art theatre' consists of, and that is why we have never stopped looking for it, actually, this is the starting point for our artistic and production research. Under this expression we gather many references that we have been carrying for a long time and others that we discover in each production.

    Jean-Guy Lecat and Peter Brook's conception of performance space, the experience of the Teatre Lliure being born as a private theatre with a public vocation... In all of them we recognise a certain way of understanding theatre space, the treatment of stage materials, the repertoire, a way of building the relationship between actors and spectators, the creation of an audience, the management of a creation center, the life of an artistic trouppe, the impulse of commitment to what is being done... In short, the universe that compounds our collective imagination.

    The aesthetics of proximity emphasize every detail of the viewer's experience from the moment he walks through the doors of the theater. Let it all be shown without artifice, because much of the scenic poetry lays on its most prosaic and human sides. La Perla 29 has a very human complexion: the theater staff, the constellation of actors and actresses who work with us, a rigorous and kind management, the audience we reunite and an always playing spirit that keeps us back in the theater.

    The space we have created, the Teatre La Biblioteca, is the first step of what we intend to offer and is where everything surrounding our way of understanding performing arts comes from. From here we seek to relate to free spectators open to be transformed.

  • Contemporary dialogue

      "We must preserve the spaces of creation, the luxurious spaces of thought, the spaces where we invent what does not yet exist, the spaces of questioning about the past, and of wondering. They are our most precious property, our houses, those of each and every one of us. The impressive buildings of definitive certainty are therefore no longer to be built. We must keep at the centre of our world the space for our uncertainties, the space for our fragility, for our difficulties in speaking or listening.
    We must not be amnesiac. Art spaces can get us away from fear and when you have less fear, you're less evil."

    Jean-Luc Lagarce

    From our theater space, we often ask ourselves about innovation and the value of the cultural tradition we've inherited. What does it mean today to live in a community, to have an identity, and which innovations are truly significant? Theater is like a bridge that stirs the past, the present, and the future. Therefore, the only time that is truly its own is the here-and-now, where the cultural legacies we've received and the future expectations we build converge and speak. In fact, theater as a social phenomenon is the enactment of this dialogue.

    This is why we need more fiction: to innovate artistically means to be continually rethinking our perspectives and looking for ways of reuniting each one's pont of view, both in the forms and the content. In La Perla 29 we mix repertoire and current theatre; classical words containing modern forms, future voices where resonate echoes of the past. Always looking for the open spectator and reinventing the now-and-here of the theater. We firmly believe that the dilemma on modern or classical theatre has come to an end.

    Labelling in this way -classic or modern- responds to the logic of acceleration, the fear of looking back or the pursue of apparent but ultimately conservative innovations. In theater, we travel from time to time through feelings and emotions. Beyond a modern or classical theatre, we seek to establish a contemporary dialogue between the audience and the stage.

    What fascinates us most of theatre is the constant threshold between reality and fiction. The fact that the scene is never totally finished, and in any case it is always the viewer who completes it. This is like a training for life, because it takes a lot of imagination to define what is real in the midst of our current confusing reality. We must keep the space for our uncertainties at the centre of our world. To paste the fragments of the ruins of Time, to cradle them, to care for us; today this is a singular stake that we believe necessary. It starts with a way of working and understanding the craft, it is a stake that begins with the delight of living, with the need to reimagine ourselves in order to make this world a more dignified, freer and more hopeful place. In short, we need to feel more alive and more real.

  • Art production quality

    La Perla 29 is an independent structure with the will of a public theatre, which seeks its meaning within our society by providing an area of creation and free and imaginative dialogue.

    We have created a sustainable production system which facilitates the artistic creation. We understant each show as an inseparable mix of art and production; one grows with the other. La Perla 29 is, above all, a way of doing: rigour in management, careful and attentive production, festive reception, insatiable curiosity and an infinite love for the scene.

    The activity of La Perla 29 is focused on its own productions, both inside and outside the Teatre La Biblioteca. In addition, it participates in coproductions that are exhibited in the same theater or in other spaces. Finally, it assumes executive productions of other shows around the territory. We apply our model of theatre management in projects of all kinds, and this has consolidated our own aesthetics widely celebrated by the professional sector, the public and the critics.

  • Freedom of the theatrical space

    "A theatre will always be a battle between reality and fiction. Theatre itself is subject to the tensions of this struggle, this physical and emotional dialectics. A theatre space is not only a structured architectural setting easily definable in meters, surfaces, heights and capacities. It is also, and above all, a space of dreams, indefinite, lost in time."
    Fabià Puigserver

    Culture must live in all kinds of spaces, it must flourish in the city, it must enter into dialogue with different architectures and it must be a constant challenge for spectators. Theatre should not be allowed to inhabit only conventional spaces, places that are easily explained by themselves. Conainers understood from the begging by the general public. Ruled spaces. The theater space is short-lived, changing in use and perhaps in format. This forces us to imagine more, to find different solutions that motivate creation processes and incite debate thanks to the impact it leaves on citizens. Imagining makes you look for new things that need to be debated and it builds on arguments to convince politicians, owners, the civil society... and it's not always easy because the results aren't so clearly assignable, they're not tangible a priori, and perhaps because of that it sometimes feels like you don't have a measurable return.

    In La Perla 29 we have pursued this since the beginning. Space is important to us in two respects: The disposition bewteen grades and stage is decisive in each production and we redesign it for each occasion; and also everything that surrounds the scenic space. From the walls to all the rooms that the spectator walks in are important for building our theatrical project. Many of the company's resources go to these logics.

    In this sense, inhabiting the Teatre La Biblioteca is a source of possibilities that have characterised our stage proposals and the theatrical experiences we generate. The Gothic nave of the old Hospital de la Santa Creu has been transformed according to the fictional spaces of each show. We're always in dialogue with this space, and we make sure the public is part of this relationship of affection and care, surprise and emancipated imagination.

  • Build collective imaginaries

    "Here's my job.
    I have a task, from now on, for you.
    To insist, brutally, from now on, on joy."
    Vicent Andrés Estellés

    Theatre is a game that always gives more game, that does not run out, it is reinvented to return – certainly by surprise – to the starting point.

    How to embrace love? How can we live knowing that we have to die? And fear? What does it mean to be happy? What if it's all a fiction? The fiction of saying. So how can we do real things? Perhaps precisely through fiction?

    Culture seeks to give answers to these questions and, in so doing, it generates constantly-evolving collective imaginaries. And right here, artistic creation brings metaphors that agitate what is getting frozen, images that make us go further. We believe that our contribution as a theatre and cultural meeting point must be to bring a poetic layer to what is happening collectively. It helps us take perspective and critical sense, thrive, identify, question, remember, embrace and live within culture with as many voices as characters inhabit the scene. And rigour in management makes this a reality. We work with our feet touching the ground and our head always on the stars.

    in this sense, a commitment to language is essential: home and precipice of shared imaginaries. Language, rather than a border or the robust fortification of an identity, is like a landscape, with its corners, its traces, the ploughed fields, the margins, the unexplored places... There are many ways of living in the same landscape, and we like to portray and understand them. This is how we appreciate language as a diverse, shared and free playing field. Moreover, we often mix more languages in one show, in order to create new fictional landscapes, more layers of juxtaposed imagination that take us to the heart of each story and, thus, broaden the boundaries of our collective imaginaries.

  • The public as a cultural matrix

    Theatre is one of the meeting places that the city counts with; it is a place where the city it can be defined more broadly, since people gather there want to imagine it differently. In this sense, the spectator is an active citizen who will expand the content and new forms experienced in the theatre to other places. It is like a slow and often imperceptible digestion, the effects of which are unpredictable. Our audience comes from different parts of the world and comes from very diverse imaginaries. And appeal them through the feeling, the word, the rhythm, and all the theatrical tools we in our hands.

    Around La Perla 29 many initiatives have been born that expand the project and make the company an ecosystem of both artists and spectators. This is the case of the Friends of La Perla 29, #AsSocPerla, which emerged in 2013 as an autonomous initiative that brings together audience from all around Catalonia. With a large number of associated members and followers, #AsSocPerla brings inestimable value and expands the cultural offer of La Perla 29, proposing conferences, workshops, visits, reflection and debate spaces, among many other initiatives. Over the years, this association has become a cultural matrix where one can be more widely trained as a spectator, staking for critical spirit and being part of La Perla 29 impulse and way of doing.

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Artistic direction

The direction of La Perla 29 marks the company's line of art, directing and choosing shows, defining the programming of the seasons, as well as determining the creative processes and all the experience of the viewer since entering the theater.

Oriol Broggi, founder and artistic director of La Perla 29, is committed to a repertory theatre that sees the great classics, a close and crafted theatre, where word and tradition dialogue with the present. Always seeking to give a poetic look at reality, as a direct way to share it, rethink it, feel it and perhaps learn to love us a little better. It is a direction that takes care of the aesthetics and details in all facets of La Perla 29's theatrical life with attention and generosity.

He holds a degree in Dramaturgy and Stage Direction from the Institut del Teatre and has also studied Imatge i So, among others. In 2002, he founded La Perla 29, a theatre and production company, of which he is the artistic director, and with its headquarters at Teatre La Biblioteca since 2006.

He was the director of the Centre Dramàtic de Terrassa from 2003 to 2005 and the director of the Centre d'Arts Escèniques de Terrassa until December 2006. He has received several Butaca Awards for shows such as L'orfe del Clan dels Zhao, Incendis, Hamlet, and Antígona, among others.

Oriol Broggi advocates for a repertory of the great classics, a theatre that is intimate and artisanal, where words and tradition engage with the present: a theatre of actors, a theatre of ideas and substance.

Recently, he has been seen directing productions such as Coralina, la serventa amorosa by Carlo Goldoni. In October 2022, he premiered Orgull by Dostoevsky, and in March 2022, 28 i mig at Thêatre National de la Colline in Paris, followed by the Grec Festival in Barcelona.

We have also seen him direct Hamlet Aribau by William Shakespeare at Cinema Aribau in Barcelona, La Guerra no té rostre de dona by Svetlana Alexievich, Assedegats by Wajdi Mouawad, Filumena Marturano by Eduardo de Filippo at Teatre La Biblioteca in Barcelona. In 2019, he premiered La bona persona de Sezuan at the Teatre Nacional de Catalunya. In 2018, he presented Èdip at the Teatre Romea, the opening show of Grec 2018, El Poema de Guilgamesh, rei d'Uruk, and the opera La Flauta màgica at the Castell de Peralada Festival.

Other notable productions he has directed include Bodas de Sangre (Federico García Lorca, 2017), Boscos (by Wajdi Mouawad, 2017), Un obús al cor (by Wajdi Mouawad, 2016), Els cors purs (based on the story by Joseph Kessel, 2016), Al nostre gust (creation, 2015), Una giornata particolare (by Ettore Scola, 2015), Cels (by Wajdi Mouawad, 2014), 28 i mig (creation, 2012), Cyrano de Bergerac (by Edmond Rostand, 2012), and Incendis (by Wajdi Mouawad, 2012 and 2015). In 2012, he received the Ciutat de Barcelona Award for Natale in Casa Cupiello and Luces de Bohemia, as well as for his management of the Nau de Llevant of the Biblioteca de Catalunya.

With La Perla 29, he has built a solid team and a unique cultural space associated with Teatre La Biblioteca, becoming a meeting point within the Catalan theater system and establishing the company as one of the most stable in the country.

MANAGAMENT MODEL

Perla 29 has developed a model of theatrical management based on process rigour, proximity to communication, innovation in management tools and, above all, involvement with artistic creation. This very own model has defined us and done so, because it has provided a meeting point between professionals from different cultural sectors and has consolidated a stable structure, capable of taking on major theatrical challenges with strong public projection.

Bet Orfila leads the general management and coordination of La Perla 29, together with Juli Macarulla, constantly seeking a balance between the challenge of the artistic engine and the viability of the project as a whole. It is a management model that enables us to work with a long-term vision, which is essential for the development of a solid artistic structure with constant activity.

Bet Orfila has worked in theater structures such as the Dramatic Centre of the Generalitat de Catalunya - Teatre Romea, the Teatre Nacional de Catalunya and also as a freelance, coordinated several theatrical productions. In 2002 he founded La Perla 29 and the theatre management Pas 29, together with Juli Macarulla, Jordi Basomba and Xavier González, with art direction from Oriol Broggi and Carlota Subirós. The solidity and recognition of the management model that she leads, led Bet Orfila to participate in public processes of relevance, such as being president of ADETCA from 2016 to 2019, and to be part of several selection committees and important work tables for the performing arts sector, which denotes the public welcome of La Perla 29 as a motor of theatrical creation.

team
Gina Barbeta Head of produccion
gina@laperla29.cat
Silvia Barrera Head of administration
silvia@laperla29.cat
Laura Brito Production
laura@laperla29.cat
Oriol Broggi artistic director
ariadna@laperla29.cat
Eva Cartañà Distribution and box office
eva@laperla29.cat
Ariadna Fernàndez Head of communications
ariadna@laperla29.cat
Victòria Jordà secretariat
secretaria@laperla29.cat
Alicia Lamelas Administration
alicia@laperla29.cat
Juli Macarulla Management
info@laperla29.cat
Pau Montull technician
pau@laperla29.cat
Anna Novell Comunication and press
anovell@laperla29.cat
Bet Orfila General direction and Manager
info@laperla29.cat
Cesc Pastor Chief technician
cesc@laperla29.cat
Marta Rebulà Production
mrebula@laperla29.cat
Albert Reverendo Artistic coordination & Contents
albert@laperla29.cat
Marc Serra Stage manager and spaces
marc@laperla29.cat