Tots ocells

De Wajdi Mouawad, directed by Oriol Broggi

Spectacle near sale

A new Mouawad has come to us, and it's an immense poem that gives wings to a great production. Tots ocells (Tous oiseaux) delves into significant themes of our world and impeccably portrays our society, with characters seeking to understand themselves and make their worlds understood, from their different languages and alphabets, all within a shared history.


Eitan is a young Jewish German who lives in New York and studies human DNA. He knows Wahida, a young Arab who is making her thesis about a 16th-century humanist sage who converted from Islam to Christianity by obligation. Both fall in love, forcing Eitan to confront his family and confront his fundamentalist religious beliefs. But when the two young men travel to Israel and the West Bank, Eitan is caught by a terrorist attack on the Allenby border bridge which will leave him in a deep coma. This will force his family to travel from Germany to Tel Aviv, where they will discover their family past, in a mixture of beliefs, religion, human DNA and chance.

They will all be forced to cross the painful border between family love and hatred of prejudice, where the violence of the outside world overflies domestic life and where generations break apart when the past overflows the present.

Artistic card

From Wajdi Mouawad
Directed by Oriol Broggi 
Traduction Cristina Genebat

Guillem Balart
Xavier Boada
Joan Carreras
Màrcia Cisteró
Marissa Josa

Miriam Moukhles
Xavier Ruano
Clara Segura

Space Oriol Broggi 
Lights Albert Faura
Sound Damien Bazin
Video Francesc Isern
Costumes Berta Riera

Management notes

For almost three years now, this text has been beyond our dreams. He came into my mind the first time I read it, and I think of it as a way of continuing the great projects that we want to tackle from La Perla 29. To build a great spectacle from a text - again groundbreaking and tremendously exciting - by the author of Fires, Forests and Heavens. Getting closer to the essence of something deep, hitting the spectators and once again posing the old dilemma of the theater: mirror or hammer?  

I remember the silences of the great opening nights, and I think of the new characters. And I'm excited to think about how these great actors and actresses will shape their new silences. How are we going to work the difficulty of understanding ourselves. How are we going to find a language, a language.

This show is born out of an imperative need to get to rehearse and show a story to viewers. How to tell her and make her live, all together. It is born of the mad desire for theater. It is a great feeling of collectiveness and a conviction that a useful and much-loved work can emerge; a passionate, fascinating and necessary work.

Oriol Broggi