LA TEMPESTAT - Autumn
By William Shakespeare, directed by Oriol Broggi
A storm shipwrecks Alonso, King of Naples, his son Ferdinand, and Antonio, who usurped the Duchy of Milan from his brother. The fateful storm has been conjured by Prospero, the legitimate Duke of Milan, who drove them to the remote island where he has lived in exile for a long time, alongside his daughter Miranda. The shipwreck sets in motion his vengeful plan, woven with love and despair, crafted to reclaim what was taken from him. He draws upon secret powers of nature—for Prospero is a master of the occult arts, able to command the spirits of the island, like Ariel, bound to his service, or the wretched Caliban...
Thus begins one of the greatest and most elemental tales of William Shakespeare—the last, both in chronology and maturity, to reach us through time. The island becomes the stage for fools, kings, sailors, lovers, nobles, and drunks, all surrounded by characters who exist only in fiction as fiction becomes reality upon the stage.
Text
William Shakespeare
Direction and space
Oriol Broggi
From the translation of
Jaume Coll Mariné
With
Xavier Boada
Babou Cham
Elena Tarrats
Eduard Paredes
Xavier Ripoll
Oriol Ruiz Coll
Lluís Soler
Jacob Torres
Ramon Vila
Lights
Gina Moliné
Video
Francesc Isern
Guitars
Marc Serra
Stage Manager
Marc Serra and Maria Molist
Technical functions
Pau Montull and Pau Segura
Clothing and tailoring
Alicia Lamelas
Internship Student (MUET)
Astrid García
Front of house
Eva Cartañà & Núria Ubiergo
Photography
Alex Rademakers
A production of La Perla 29 and Grec 2025 Festival de Barcelona
To my parents,
who brought me to Avignon in 1993 to see The Tempest, directed by Peter Brook, and I loved it so much that I decided to dedicate my life to theatre.
At the end of The Marriage of Figaro, the Count asks the Countess for forgiveness, and the music accompanies the moment with such delicacy that it seems like everything is possible and beautiful. In that final moment, Forgiveness and Reconciliation seem possible. The voices rise and expand to make room for something greater, something stronger. I have always thought that the true protagonist of that story is the Countess, because her music is more beautiful, subtle, and wonderful, and because she is the one who forgives. Surely one of the bravest gestures that exist.
Forgiveness and Reconciliation, alongside characters who represent the hope for a new world. Like Miranda, on the lost island of The Tempest, who with her youth and open gaze towards the world and all that lives within it, strikes her father’s troubled heart and teaches him that another path is possible—beyond vengeance and rancor. This comes as a surprise, like all births of something new.
The strength to be free, the open condition, the question of what the next step will be... the capacity to create. To recover freedom if we have lost it, to fill it with meaning if we have worn it down, to let it be born. This is quite certainly Prospero’s great challenge.
We see this magical island as our theatrical space, infinite and fantastic. Yet difficult to move and command. And it confronts us with what is most wondrous: how to explain the most magical? The most intangible? How can we show the world we do not see directly? What lies hidden behind words, behind feelings. What is unseen. What is not easy to believe. What remains behind reality. How to reveal another side of our world, and with it, our contradictions? Our passions.
On the island are Prospero, Ariel, Caliban, old Gonzalo—the loyal and good counsellor—Ferdinand and Miranda, who with their love will save us all, King Alonso, and the amusing Trinculo and Stephano...
And the constant references to the peace of that always imaginary island... where everything begins.
The romantic feeling that can save us. And a new world. That appears on the beach, at the edge of the sea.
Thank you for being here.
Oriol Broggi
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