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2002 Catalunya Invisible: Contemporary Drama in Barcelona Sharon G. Feldman University of Richmond, [email protected]
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Recommended Citation Feldman, Sharon G. "Catalunya Invisible: Contemporary Drama in Barcelona." Arizona Journal of Hispanic Cultural Studies 6, no. 1 (2002): 269-87. doi:10.1353/hcs.2011.0315.
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Sharon G. Feldman isan As Cela estbien dit [ maisI ilfaut cultiver notre jardin. sociate Professor of Spanish ?Voltaire, Candide at the University of Rich mond. She has written exten a During the winter of 2000, Llu?s Pasqual staged on r sively contemporary Span Catalan version of Anton Chekov's The Cherry ishand Catalan theatreand Orchard at Barcelonas Teatre Lliure, the historic has transUtedseveral Catalan home of Cataton?as most stable, accomplished, and dis plays. She ispresently writing tinguished repertory theatre company. In Chekov's play, a book on the legacyof Barce Madame an emblem of lonas theatre Lyobov Andreyevna Ranyevskaya, independent movement. the fading elegance and dwindling supremacy of the Rus sian aristocracy, is compelled by her situation of financial estate to nouveau despair to sell her and cherry orchard the return to on eve riche Lopakhin and then Paris the of the Revolution. The orchard that was once admired for its
beauty eventually will be destroyed in order to pave the a way for series of homes that will be occupied by the rising working-class. Those who witnessed the premiere of Pasqual's mise en on sc?ne of Lhort dels cirerers the evening of 17 February moment 2000 might still recall with emotion the inwhich Anna Lizaran, in the role of Madame Ranyevskaya, stood a before small-scale replica of the Teatre Lliure, which \y set a Pasqual had incorporated into the design, and made was a resounding plea in defense of her cherry orchard. It one to powerful metatheatrical moment, likely remain engraved in the collective memory of the Barcelona the as atre community for several years to come, for Lizaran, one a of the grandes dames of the Catalan stage and found ing member of the Lliure's resident company, embraced If::
Arizona Journal ofHispanic Cultural StudiesVolume 6, 2002 270 Arizona Journal ofHispanic Cultural Studies
the replica of this eminently symbolic The Teatre Lliure was founded in to theatrical space, she seemed magically 1976 under thedirection of Lluis Pasqual, even localize, and domesticate, the geo Pere Planella, Fabi? Puigserver, and Carlota as a graphic and spatial parameters of Chekov's Soldevila private collective with pub to in a play, fuse sweeping allegorical ges lic aspirations. Its original performance ture a series of at once site concepts very dis space, the of Pasqual's production of tant to It was a mo and very close home. Chekov's play, is located in the Gr?cia dis ment a imbued with nostalgia and self-con trict of Barcelona, in late-nineteenth scious reflection inwhich once to Pasqual, always century building that belonged attentive to the that intertwine parallels the Catalan workers cooperative La fiction with reality, offered his spectators, Lleialtat. Faithful to its name and estab and the Barcelona specifically, theatre lishment during the democratic transition, at to community large, the opportunity the Lliure?both the building and the where contemplate they had been and resident company?has always stood as how far had come since the Lliure's an they emblem of freedom of expression and first on December a opening night 1, 1976. vindication of Catalan-language theatre On that winter evening, nearly productions (many of these drawn from an twenty-five years earlier, justminutes prior international repertoire). The Lliure, to the debut of Carni de to Pasqual's nit, the this end, has played a key role in the audience had before an stood empty stage process through which the post-Franco and burst into in to recover spontaneous applause Catalan stage has struggled and and of what was recognition anticipation reconstitute the professional legitimacy to follow. The ovation, as Joan-Anton and visibilitythat ithad lostduring the Benach was to recalls, dedicated "la nada period of the dictatorship. It has also func no as a que hab?a ocurrido. Al todo que tioned creative laboratory and train a a unas intu?amos iba ocurrir [...] paredes, ing ground formany of themost talented a un campo de operaciones que estaba por members of the Barcelona theatre profes estrenar" (52). In Pasqual's production of sion. im Lhort dels cirerers, the doubly coded In 1988, the Lliure finally became a em age of Lizaran/Ranyevskaya wistfully public entity, the Fundado Teatre Lliure a bracing her Lliure/home represented Teatre Public de Barcelona, with the sup sorts a to farewell of and subtle homage port of the municipal government. One the theatrical space that the Lliure's rep year later, through the perseverance of the had for a ertory company occupied nearly late director and scenic designer Fabi? quarter century. The Lliure's original Puigserver, the Barcelona City Council home, unlike the cherry orchard, though, granted the Lliure its dream of a new to or managed avoid any danger of loss world-class theatrical space, the Palau de in it is still in use a at destruction; fact, today. l'Agricultura, building situated the on But the night of the premi?re in Feb foot of Montju?c, originally constructed re ruary 2000, the future of the space for the International Exposition of 1929, as to a mained unclear the Lliure prepared and today, major component of the con a new embark upon stage in its artistic temporary public theatre project known evolution. as the Ciutat del Teatre. Barcelona's mu SharonG. Feldman 271
nicipal and provincial governments, the the peculiar ironythat Edipo XXI origi cen Generalit?t de Catalunya, and Spain's nally had been scheduled to be staged tral all government provided funding for months earlier, along with Carlo Goldoni's the new motivated cultural La casa to Lliure, by nova, celebrate the inaugura to political aspirations transform Barcelona tion of the Lliure's new center of opera into a at European theatre capital (the para tions Montju?c. Oedipus had returned to digms being London, Paris, Berlin, and Thebes, but at least for the moment, a Milan). It did not come as surprise, there he had chosen to remain outside "the new fore, when mayor Pasqual Maragall, in house." invited Lluis one of the most 1997, Pasqual, What is perhaps intriguing most internationally recognized Catalan about Pasquals mise en sc?ne of Chekov, as to return to as directors, Barcelona from his well the other productions mentioned position in Paris (as director of theOd?on here, is that his ironic evocations do not Th??tre de to coordinate the l'Europe) merely reference his personal artistic tra Ciutat del Teatre who to weave project. Pasqual, jectory; rather, he has managed was accepted Maragall's invitation, to serve into these works a series of allusions to as artistic director of the new Lliure to upon Barcelona, the cultural-political milieu of the Palau's but of the completion restoration, theatre. Pasquals appropriation and a series of administrative disputes prompted recontextualization of Chekov's discourse his controversial exit from the dur is project of home especially worthy of note in ing the summerof 2000.While thePalau that seldom has Barcelona?or Catalonia, de did a for matter?as an 1'Agricultura undergo spectacu that image, notion, rhe state-of-the-art when or lar, transformation, torical figure, poetic trope, made an its to doors finallyopened thepublic in appearance on the contemporary Catalan November was are 2001, Pasqual notably stage. There Catalan performance absent. groups, such as La Fura dels Baus, It is not to unusual for Pasqual play Comediants, and Semola, whose references out elements of his professional autobi to the culture of the Mediterranean are in the selection and of evocative of in ography staging Catalonia varying degrees. theatrical works. are now Audiences by Other companies, such as La Cubana, accustomed to these veiled references and Teatre de Guerrilla, and Els Joglars, have In when Catalonia allegorical renderings. 1999, portrayed and Catalan identity renovations to the Palau to lin appeared through the lens of parody and caricature. on he Samuel In ger indefinitely, staged the literary realm of text-based drama, Beckett's Godot at the Waiting for Lliure's however, rarely in recent decades have Gr?cia locale. In July 2002, he staged Barcelona or Catalonia been addressed or his even Edipo XXI, contemporary reading of subtly invoked. the of at theTeatre In the tragedy Oedipus, Grec, copious outpouring of Catalan from the Palau. The written only steps away pro plays during the post-Franco pe duction, derived from the Oedipal dra riod, Barcelona and/or Catalonia are con mas of Sophocles, Aeschylus, Euripides, spicuously absent from the fictional land and marked What one in Genet, Pasqual's long-awaited scape. finds these plays is return to the Barcelona His home not stage. the Catalonia grounded in the sym was shadowed bolic coming, nevertheless, by geography of ?ngel Guimer?'s late 272 Arizona Journal ofHispanic Cultural Studies
or to trans nineteenth-century Terra baixa Mar i Barcelona municipal government nor a eel; does it resemble the popular form this locale into major point of ref erence costumbrista portraits of Barcelona that for visiting performers and compa surface in Josep Maria de Sagarras La nies from the contemporary international or pla?a de Sant Joan La Rambla de les stage. The Mercat has since served as a written the floristes, both during 1930s. showcase for several works by Brook and The traditional geographic place markers has also been the site of memorable ap of a Catalan have all but van a imaginary pearances by series of luminaries who ished from the of a evo settings contemporary have left lasting imprint upon the drama. itwould seem, is sel Catalonia, lution of this city's contemporary theatri dom even referenced in a or metaphoric cal avant-garde: Pina Bausch, the late as was case in allegorical sense, often the Vittorio Gassman and Tadeusz Kantor, the committed theatre of, for politically Lindsay Kemp, Robert Lepage, Harold example, Salvador Espriu, written during Pinter, Ariane Mouchkine and theTh??tre the of and years dictatorship censorship. du Soleil, and Simon McBurney and the While the theatrical that frame politics Theatre de Complicit? [sic]. Historically, the of Catalan production contemporary modern Catalan drama has always exhib drama appear obsessed with cultural iden ited, since its origins in the nineteenth tity and its international the a projection, century, type of transnational impulse, dramatists themselves have eluded any sort in an engaging artistic dialogue with in of cultural in their work. specificity ternational theatre traditions of both past Barcelona is and continually reimagined and present, forging its identity vis-?-vis in envisaged the minds of architects, poli its intercultural associations. ticians and urban and yet, it has as planners, As early the 1890s, modernist on a taken nearly invisible, ghostly pres painters/playwrights Santiago Rusi?ol and ence on the contemporary stage. In the Adria Guai played significant roles in the pages that follow, I shall consider the pos translation, performance, and dissemina sible causes of the which I disappearance, tion of international drama in Catalonia, to as shall refer Catalunya invisible. I shall and since that time, Barcelona has argu also examine the artistic and im political as ably functioned the predominant "gate of an aesthetic of plications invisibility. to way" Spain forEuropean theatre am some (George In particular, I interested in how and London 12). to the post most Referring of the prominent contemporary Civil War period, John London has dem playwrights have negotiated this void and onstrated how, from the 1940s onward, the in which a new striking exceptions itwas: or image of Catalonia, Barcelona, has be to gun emerge. preciselythe translationof non-Span In 1985, Peter Book traveled from ish plays intoCatalan which would Paris to Barcelona in search of an empty lead to there-establishment of the lan in which to La de as a space stage trag?die guage working theatrical idiom, Carmen. His decision to appropriate the ratherthan a folklorictradition. (7) vacant Mercat de les Flors, another sur structure viving from the 1929 Interna In effect, throughout the period of the was trans tional Exposition, would prompt the dictatorship, it often through SharonG. Feldman 273
lation that the members of the Catalan Catalan culture. For many Catalan dra independent theatre sector?namely the matists, innately conscious of the oppres Agrupado Dram?tica de Barcelona (estab sive realities of the past, the linguistic dis to over lished in 1955) and the Escola d'Art tinction appears take precedence Dram?tic Adria Guai (established in all other thematic or aesthetic indicators to I960)?were able introduce, explore, of identity. Consequently, ifCatalonia is in a or and thoroughly immerse themselves in the allegedly "invisible" thematic spa currents dominant of the twentieth-cen tiotemporal sense, its presence is never "Catalan tury international stage (G?li?n, theless unequivocally conveyed through one Theatrical Life" 19-27). Their non-pro language. To write (and, would hope, to a fessional, non-official pedagogical environ stage) play in Catalan is, in effect, to ments serve as a would breeding grounds inscribe and reclaim specific cultural for of the as a many actors, directors, play space. This alone is often regarded on not to a wrights and designers who would go triumph, mention significant to most become the dynamic members of political gesture. rhe post-Franco theatre scene, including Ironically, the democratic freedom those who would one found theTeatre un day that afforded the professional theatre Lliure. These independent spaces made it restricted use of Catalan as a "theatrical for them to leave behind the his to a possible idiom" appears have yielded certain torical of the and or even baggage Spanish stage complacency, ambivalence, neglect look toward in a on the of some outward, Europe, ges part directors and produc ture that Catalan artists and writers had ers to with regard the staging and sup to been known perform for centuries. port of autochthonous drama. Hence, at For the the times it seem as independent theatre, would though Catalan of the Catalan on drama itselfwere in employment language danger of becoming the became a of an stage sign resistance, invisible. Barcelona playwright/poet Joan affirmation of identity and cultural his Casas has even dared to pose the provoca and a refusal to to the central tory, yield tive hypothesis that the often-cited "new force of the and izing Spanish language Catalan dramaturgy," in effect, may be all its Itwill be a cruel a implications. always merely "mirage." In "Casa nova, casa and absurd paradox that, during the post velia," an article whose title constitutes a Civil War the denial of freedom of subtle allusion to years, the Palau de l'Agricul in a sense, seemed to fuel cre expression, tura, Jordi Coca underscores the impor and and the so tance ativity change, confining of recuperating theatrical infrastruc ciocultural circumstances the also surrounding tures, but questions the relatively in theatre became a for independent catalyst adequate amount of energy devoted to aesthetic innovation and internationaliza tending the fields of Catalan drama. Coca tion. an detects inexplicable aloofness among the democratic the During period, Barcelona production companies with re of the Catalan as a ve to presence language gard Catalan plays: hicle of theatrical expression has contin ued to hold value as a crucial ens a a symbolic hauria de dur totsplegats ser a marker of identity and vindication of m?s generosos amb el nostre pass?t i 274 Arizona Journal ofHispanic Cultural Studies
amb el nostrepresent. ?s imperiosque Catalans.Es parli de lesnostres inquie com sigu?aix? si no ensvolem concebre tuds ide les responsabilitatsd'un millor a perifericsi provincians. (35) futurpolitic. (11)
on was same Indeed the interest (even obsession) In effect, Salvat expressing the concerns the part of public entities with infrastruc with international projection, ture more to as often has do with global self-determination, and protectionism the international on pirations and projection that would later land the agenda of new of catalanisme than with the artistic vigor the administration of the Teatre of the local theatre or the cul profession Nacional following the departure of tivation and preservation of Catalan text Flotats. In recent years, this theatre, un based drama. der the direction of Dom?nec Reixach, has the most notorious case in to Possibly launched several initiatives designed recent years of the disregard for autoch cultivate and showcase thework of Catalan thonous drama too in the (all frequently, dramatists, directors, dancers, choreogra name of is that of direc "normalization") phers, and companies, young and old. In tor Josep Maria Flotats, who was asked 2002, the Teatre Nacional introduced a Catalan cultural minister Maria new as by Joan project known "T-6," under the to vacate his as director of Puj?is position supervision of playwright-director Sergi the Teatre Nacional de Catalunya shortly Belbel, with the intention of nurturing after the "official" of the the inauguration and staging thework of six young Catalan atre in the fall of On the eve of the 1997. dramatists and directors per year. inauguration, the eminent director Ricard But the definition of the "we" who was Flotats's Salvat, riling against (nosaltres) towhich Salvat (and, also, Coca) decision to launch his first was (pre-inaugu referring (as in "our national drama," season of with ral) programming Tony "our history," "our place here, in theworld, Kushner's in America and Angels Stephen as Catalans," and "our concerns") is a rather Sondheim's felt to Company, compelled imprecise construct, part of a contempo ask, "Are we in Burundi or in the Euro rary nostreficaci?y which has infiltrated and then to remark pean Community?" popular discourse and political rhetoric that, after of to an twenty-two years democracy, in reference imaginary map of cul to see an he had yet adequate model of tural distinctions. Catalonia's status as a theatre that was even public minimally stateless nation has given way to overt con with the Union (9). to compatible European sciousness with regard the space of Salvat called for: Catalan culture and the curious tendency to define that space through the abstract una 'lectura' de la nostra dramaturgia use of personal pronouns. Performance a nacional i, la vegada, de la drama theory has already shown that the very turgiainternacional. Un repertorique notion of catalanitat, or of any cultural expliqui la nostrahist?ria', la dels Pa?sos for that matter, can be construed Catalans, en rel?ci? a la Pen?nsula identity as a for a Ib?rica i a Europa [...] i que a trav?s subjective process. Consequently, to on to d'aquest repertories defineix [sic] el community "define" itself stage, nostre esser en el com a to a aqu?, m?n, bring life national narrative, the stage SharonG. Feldman 275
a State must be conceived as site of conflict, and Europe. Within this emotional, so struggle, and resistance, of cultural, subjective space, the image of Europe is as a cial, and political negotiations and vacil regularly evoked, albeit ambiguously, lations. point of contrast with Spanish centralism as a context a more autonomous Today, the so-called "new" Europe and for of evaporating cultural, political and Catalonia. Hence, Villatoro situates the a a physical boundaries is, like Catalonia, issue of cultural identity within spatial not a bewildering entity, rifewith tension and arena, only linguistic-political arena, as so case. a uncertainty, which eludes any fixed defi is often the Such gesture is can a to nition and be envisioned as constant particularly relevant the theatre, for the flow and substitution of images, peoples, problem of place, and the relationship contem between are technologies, and ideologies. The place and theatrical space, issues that traverse entire porary technological revolution, coupled the trajectory of with the deconstruction of the nation modern Western drama. Una Chaudhuri the term to state, the spread of cosmopolitanism, and employs "geopathology" de movements mass this of migration have, in the scribe problematic, observing how it words of Montserrat Guibernau, "trans emerges throughout the realist/naturalist a as a formed the world into singular place tradition, where processes of cultural integration and seriesof and disintegration take place" (130). Arjun ruptures displacements invarious ordersof location,from the Appadurai points to the formation of micro- to themacrospatial, fromhome ethnoscapes, mediascapes, technoscapes, to nature, with as intermediaryspace financescapes, and ideoscapes symptoms conceptssuch as home a neighborhood, of contemporary subjectivity that natu town, community, and country would us to reflect rally inspire upon long ranged inbetween. (55) established relationships between the lo cal and the It is in a global (33). also, The playwith spatialgeography, especially sense, this of reflection ambiguous space with the image of home and the notion of that in recent years has enabled Catalan can be locality, remarkably revealing in culture in and theatre in terms a sense general, particu of playwrights of self, iden to the of the lar, question sovereignty tity, and culture. nation-state while itself most Spanish inserting Perhaps the flagrant manifes within a and even con European, global, tation of the phenomenon that I have text. can termed Catalunya invisible be found Vincen? Villatoro describes the "ter in the theatreof Llu?sa Cunill? (Badalona, as a rain" of Catalan cultural hegemony 1961). Cunill?, who, in fact,writes in of symbolic space emotion, perception, both Catalan and Spanish, and whose La and It is a of in cita was at the subjectivity(429). place staged Edinburgh Festival dividual as well as collective in a self-recogni 1999, has created series of plays that tion whose are established out own parameters map her idiosyncratic view of the to phenomenologically, in relation differ world, what Marcos Ordonez has called ent "circles of de It is an belonging" {cercles "Cunillel?ndia." unsettling, static pertinen?d), which include the Spanish universe, where time does not seem to 276 Arizona Journal ofHispanic Cultural Studies
one a advance forward; rather, has the im whose very constitution is, in phenom are pression that her characters suspended enological sense, always contingent upon an in interminable present. In general, all the bodies, desires, and anxieties that in are was spatiotemporal signs absent; what habit them. The situation skillfully an dominates is atemporality and vacuity captured by director Yvette Vigat? and a of space, vaporous and circumstantial scenic designer Tobia Ercolina in theirmise that seems devoid en sc?ne of La venda in landscape disquietingly 1997, where large or were of action. Any insinuation of plot char sheets of semitransparent plastic used to acterization is established through frag invoke the walls of the empty apart remnants ment. ments, flashes, and of subjec The combination of the plastic not an natu tive reality; through objective, sheetingwith carefullydiffused lighting or ralist, psychological approach. As (designedby Nuccio Marino) suggested an re Ordo?ez observes, "Cunillel?ndia" is an the presence of evanescent, ghostly on the of enigmatic, indeterminate place whose lim ality, verge slipping away. are Guillamon has in La its plotted along the "interstitial pas Julia described, ciutat a sageways" of contemporary urban life: interrompuda, tendency among even Catalan (and Spanish) narrative of to Sabem que som all?,altre cop, perqu? the 1990s evade literary representations reconeixem les s?ves i ombres of Hums Barcelona, transferring the "real" map to a (sempre imprecises,sempre canviants), of the city personal-mental imaginary. els seus llocs r?currents: les zones de He borrows the notion of the "interrupted pas, els intersticis.(43) an city" from essay written by Giulio Carlo Argan, who observed in the late 1970s Cunill?'s circumstantial was no on landscapes that Rome longer the minds of include the vacant warehouse that, large writers and artists, but instead had passed as a inAccident (1994), functions storage into the hands of technocrats. For area for thousands of ventilation portable Guillamon, contemporary Barcelona is also fans; the vacant that, in La an a apartment interrupted city, in that there is vast venda one character tries to sell or (1994), gap, inconsistency, between the fiction and the others to fill with their de try alized representations of the city and the sires; the bedroom of a hotel in a anony images conjured during the post-Franco mous costal inPrivado citywhere, (1996), reconstruction (before and after theOlym the true of a man vac identity mysterious pic games) by politicians, urban planners, illates among multiple possibilities; the and architects. Faced with the difficulties elevator of an urban an apartment building of portraying urban landscape that is in seems to take so that, Apocalipsi (1998), changing rapidly that it practically an infinite amount of time to travel down eludes description, these writers, which to street level; and the empty lot situated include Quirn Monz?, Sergi P?mies, and in a zone a to peripheral of large city where, David Cirici, have given preference in in a man a women or Laniversari (2000), and terior "psychogeographies" incomplete a encounter. have chance Cunill?'s spaces, fragments drawn from the exterior urban to that are barely defined, practically bare, lacking scenery, anonymous "no-places" a in distinguishing characteristics, have seemingly lacking in signs of identity. provisional, tenuous, fleeting nature, Reflecting upon this absence, Guillamon SharonG. Feldman 277
at some are wonders if itmight be possible These dislocations conceivably indica to point reclaim these lost spaces: "?Es tive of the quandary, described by Guilla of from a realist poden reconqu?rir els espais de l'anonimat, mon, depicting perspec es en poden convertir espais d'identitat i tive the rapid transformations of Barce an even de record?" (279-86). lona's urban landscape. But, in Cunill?'s indeterminate voids, I broader context, Cunill?'s elliptical in are can as a re would suggest, paradoxically instilled scription of identity be taken with identity and meaning, for cultural flection of the ontological and aesthetic our a con identity in her plays is inscribed not implications of existence within through location, but rather through its temporary technological culture of disin or cross avoidance displacement. Cultural iden tegrating borders and transnational a tity is established elliptically, in such ings and migrations. Chauduri, effectively, way that itsflagrant non-presence acquires attributes the "erasure of spatial particu so strong connotative powers. Spatial geog larity" that is prevalent in contempo to raphy is dislocated, occluded, "inter rary drama the so-called postmodern or even a rupted," erased, reflecting de condition (5). a to sire for transcendence, desire avoid The strategies through which as as the confining pitfalls of?to paraphrase Cunill?, well other contemporary Coca?peripheralism and provincialism. playwrights, inscribe Catalonia, its inclu
Rosa Maria Sard?, JoanAnguera, and Carme Molina inOhrs, by JosepM. Benet iJornet. Directed by Mario Gas. Scenic design by JonBerrondo. TeatreNacional de Catalunya, 24 February-9April 2000. Photo by PilarAymerich. 278 Arizona Journal ofHispanic Cultural Studies
sion and exclusion, do not offer an essen the theatre of David Mamet, whose criti tialist vision; instead Catalonia vacillates, cal views of American society have pro a it hovers and drifts in the background, vided Barcelona playwrights with para undergoing continual formulations and digmatic portrait of post-industrial de reformulations. Josep Miquel Sobrer poses cline. In addition, as Batlle notes, the in a at a the notion of aporia, "being loss for fluence of North American cinema has one or to or to a where is, where begin how been crucial element in the creation of a as an proceed," apt way of conceiving this generic "collective imaginary" that entails sense problematic of Catalan nationhood, abundant Hollywood film cliches, such which he traces to the cultural as the Renaixen?a presence of skyscrapers and evening a set of the 1890s and the "reinvention of mist wafting off of broad city streets Catalonia as nation" It is this same nueva (173). ("La dramaturgia" 46). or sense geographic loss, of displacement? Batlle (Barcelona, 1963), who is a an as the paradoxical presence of invisible dramatist well as a critic, was selected Catalonia?that has become a to at a defining represent Catalonia workshop for trait of new contemporary Catalan drama. European playwrights, held at the The of is of Bonn summer strategy displacement Biennale during the of ten on portrayed the Catalan stage, and 2000. In plays that include Les veus de elsewhere, through the figure of America. Iambu, Combat, Suite, and Oasi, Batlle constructs As Chauduri notes, America is "the hinge, allegorical spaces of transcul the inmore a an turning point than century tural desire upon which is engraved to long neglect of the very principle that it aspiration transcend the local and the seems to erase: a space" (4). Such strategy particularities of "home." His plays put can a be observed inDespr?s de la pluja, by into practice theory of "relative drama" a Sergi Belbel (Terrassa, 1963), play that ("el drama relatiu"), which he has elabo was Frances own awarded Moli?re Prize for best rated in articles concerning his the in atre most comedy 1998. Here, the setting, the and, especially, that of Cunill?. a a lofty rooftop of skyscraper owned by Meaning in these plays is established to an or transnational corporation, alludes "relatively," in relation to other scenic uncertain abstract urban geography, remi elements. The relativism of the "drama niscent of North America and to resembling, relatiu" thus refers the subjective, phe in New York In particular, City. the play, nomenological process through which which premiered under Belbel's direction meaning is constituted and reconstituted at the Centre Cultural de Sant del on a Cugat the stage, always through relation Vall?s in "America" is 1993, reimagined ship of mutual dependence and implica as a placeless metaphoric space of ideal tion. a won ism, and also of decadence, "heterotopic" At first glance, Suite, which the as realm of desire, comprising, Chaudhuri SGAE Prize (fromthe Sociedad General would have it, "many different, even in de Autores y Editores) in 1999 and pre at compatible places" (5). miered the Sala Beckett in January Carles Batlle attributes this so-called 2001, under the direction of Toni Casares, a "Americanization" of Catalan drama in is play of intimate dimensions and do to the with part contemporary fascination mestic affairs. As the plot develops, the SharonG. Feldman 279
to an two audience bears witness intense and design is composed of contiguous two mar a enigmatic relationship between spaces. The first is typical bourgeois liv ried couples: older (Anna and Marc) and ing room, the home of Marc and Anna. a more younger (Berta and Pol). The spectators, The second is peripheral, transi as as are well Marc and Berta, compelled tional, undefined space, the hotel suite to confront the possibility that the older occupied by Berta. Both spaces, though, a woman, Anna, may be romantically in share window and the sunlight that streams a con volved with her younger son-in-law, Pol; through it, metaphor of the never a sense however, Batlle provides of fusing, undiscovered, exhilarating world closure regarding the truth. The specta situated beyond the confines of the home. tor is only offered partial, ephemeral, and The presence of the shared window (situ even an creates an conflicting visions, elusive, kalei ated, in theory, upstage) inde zone doscopic portrait of reality. terminate of slippage between the a two to Suite is also play about the rela spaces, suggesting the spectator tionship between memory and desire that neither space is really what it seems context re to within the of what Batlle has be. The degrees of openness and clo ferred ro as the fictionalization, or sure are relative to one another. Casares
"literarization," of reality; that is, the hu emphasized this spatial deconstruction man to ex inclination superimpose past throughthe bed and the telephone,which periences upon the present and to were situated in such a way that the two as a reimagine the present function of fan spaces seemed to intersect. tasies a and dreams ("La nouvelle ?criture"). Suite contains dense plot of emo Filtered through the subjective lens of tion, betrayal, and infidelity, inwhich the memory, the past is manipulated, ideal private, intimate story of these two mar ized, subjectified, and fictionalized in such riages,when transferred to a broader, more a or never way that reality, the real, public spatial milieu, establishes a crude as or are emerges fixed closed. Signifiers allegory of contemporary (postnational) a tenuous suspended in mode of deferral. Europe: lost, disoriented, and adrift,with as out a or Ambiguity and opacity emerge both precise memory destiny. The cause never en and effect. In Suite, it is opening stage directions situate the ac tirely clear whether Annas rapport with tion "anywhere in Europe in 1999." At to events as reality and her relationship past the end of the play, the spectators ob in a serve a (a possible sojourn Essaouira, pos the collapse of dollhouse upon the sible love affaire with a is room young sailor) living floor (a metaphor of domes in the fiction of tic as grounded books, paint and global instability, well as an and the or even be ironic intertextual to ings, cinema, might reference Ibsen), they derived from a set of memories that are are left to wonder whether Berta, who re not her own. mains dazed and confused in the suite of Batlle deconstructs the an old will return to privileged hotel, the mirage of modern drama that is the fam like a setting image of home and marriage with same ily home, the setting found in the out foundations, or whether she will flee realist/naturalist works of Chekov and ro rhe more exotic space of Essaouira, in ro Ibsen. According Batlles text, the set North Africa. Batlle establishes the spa 280 Arizona Journal ofHispanic Cultural Studies
a ever are tialgeography of his play through phe is named directly, but they sub not to to nomenological process; in relation tly invoked in relation other places to specific references Catalonia per se, but (Madrid,Cardiff, and theNorth African vis-?-vis to a cultural references other "circles desert). In addition, the play contains concrete to of belonging": Essaouira, Morocco, Africa, reference the Olympic games so an Europe. In doing, he positions his play of anonymous city. Batlles text is situ an transna a within ambivalent space of ated in similarly anonymous rural area tional transactions and dislocations, of of Europe, faintly reminiscent of La cultural integration and disintegration in Garrotxa (Girona), the pre-Pyrenean zone is which contemporary Catalonia impli of Catalonia where he presently makes his cated. Batlles treatment of space also co home. an incides with observation offered by The protagonists of Oasi, Xavier and JanelleReinelt with regardto theBritish Raixid, are two men in their mid-thirties stage, in which she notes the emergence with a shared past. Raixid, a Moslem, who of a theatre that was born on a contemporary attempts desert oasis, immigrated to a one en to imagine "new Europe," that with his parents this rural European gages all its ambiguities and indetermi environment. When he was a child, he nacies. a and his family occupied small house lo en on Curiously, Casares, in his mise cated property owned by Xavier's fam a concrete sc?ne of Suite, imposed series of ily until Raixid's parents were killed in a use spatial connotations though the of tragic fire. Xavier's parents took Raixid small domestic as the into two were details, such place their home and the boys ment as re of volumes of the Enciclop?dia raised brothers. While Raixid has on room catalana the living bookshelves. mained close to his childhood home, He also incorporated into his production Xavier, in contrast, has embarked upon a were own series of background songs that his exilic journey, first to a Madrid in popular Catalonia during 1960s and prison (having been accused of "terrorism" nova testa the period of the can?o: "El when he participated in the political pro ment a of medieval tests d'Am?lia," folksong surrounding the Olympic games), origins, and the music of Guillermina and then to Great Britain, where he ac Mota and Francese Pi de la Serra. Casaress a quired teaching position. When the play an version of the play offered alternative, begins, Xavier has returned "home" fol more a visible construction of Catalonia, and lowing ten-year absence. While there, a certain a thereby conveyed self-conscious he engages in search, through memory ness with to the im own respect invisibility and desire, for his signs of identity in text. a bedded Batlles and belonging. But, Raixid, in sense, a was In Oasi, play that awarded the has appropriated the space thatXavier has Blanes Prize in 2002, Batlle takes his leftbehind: his land,his formerlife, and concerns a even geopathological step further, perhaps his memories. Raixid now re once conceiving the notion of Catalonia in carries the pocket watch that be to a to lation clearly demarcated discourse longed Xavier (an emblem of the pas even of exile, displacement, homecoming, and sage of time) and has married Xavier's nor migration. Neither Catalonia Barcelona former fianc?e, Maria. Moreover, Raixid SharonG. Feldman 281
to own an tries to persuade Xavier sell him the Xavier's "geopathology," his to at family property in order clear the way guished homecoming, his frustrated for the construction of a reservoir.Xavier's tempts to remember and recuperate his an are homecoming, then, is imbued with roots, indirectly evocative of the situa sense as a anguished of loss he faces the tion of contemporary Catalonia, space no impossibility of recuperating the past and of migration and cultural flux. The it in the The tion of "home" as a reinscribing present. spatial emerges subjective fig his is in be ure is geography of past danger of that conjured through fluctuating water ing vanquished by the threat of rising emotions and relativistic relations, own from the reservoir. In his words: through arrivals and departures. In some a respects, Olors, play by obro una noto com si tots Quan porta Josep Maria Benet i Jornet (Barcelona els com si tosels totes mobles, calaixos, 1940), one of Barcelonas most distin les nostres em veUesandromines, tinguessin an guished playwrights, is enmeshed in por, com si Taire fug?s,com si no em intertextual dialogue with Oasi, for both fos perm?s respirar.I em passo el dia intertwine space, culture, and mi tan?ant armaris, tan?ant calaixos, tan plays cant Benet's which in caixes, portes, f?nestres [...]. S?c gration. play, premiered at un intrus. February 2000 the Teatre Nacional de Catalunya under the direction of Mario an rever is an to the in Here, through intriguing Gas, exception persistent of Catalonia in sal of traditional paradigms, the placeless, visibility contemporary deterritorialized self is not the Moslem drama. Here, the dramatist grants Barce lona the role of immigrant, but the European who has protagonist and speaks an about been living exilic existence. As in Suite, implicitly the urban transforma uses a tions and the Batlle series of spatial metaphors evolving cultural identity of to out the creates a and descriptions play the existen city. Specifically, he portrait to tial anxiety that is linked the produc of the interior "patios" of the Raval quar to ter own tion of place. According the stage di of his youth. Olors is the third the scene con in a as rections, opening (scene 0), play trilogy, but Benet is quick to tains the of a of out in to striking image large piece point the introduction the pub fabric covers can undulating which nearly the lished text, it easily stand on its own entire scenic space. In the scene that fol (12). lows (scene 1), the fabric is hoisted up With Olors, Benet returns to a series from the center, as itwere a of characters and to a one ward, though small parcel of or Berber tent, haima. Situated beneath of the oldest sections of Barcelona (a the tent-like structure are traditional ob synecdochal representation of the city), as a jects, such grandfather clock, which which he depicted for the first time in are reminiscent of a life and Una strangely past ve?a, coneguda olor, written in 1963, an culrural underlying identity. Thus, and recipient of the first Josep Maria de with this a veritable poetic depiction, pal Sagarra Prize. Benet had already revisited creates a impsest, Batlle metaphor that thisfictional world in 1979,with Baralla speaks about multiculturalism and the entre olors. Olors, therefore, represents the of cultural end of a treats a spatial inscription identity. cycle that nearly forty 282 Arizona Journal ofHispanic Cultural Studies
year span in the evolution of the city, from momentary changes in perception and to to the second half of the dictatorship de subjectivity. He tends offer the specta one tor mocracy. Not surprisingly, of the prin ephemeral, partial visions of reality, in themes of Olors is the a manner to cipal passage of time. similar the elusive, fleeting signifiers that inhabit the theatre of Batlle or Cunill??in effect, Benets theatre has exerted a sub stantial influence, direct or indirect, upon thework of these two dramatists. In a
phenomenological sense, s Benet plays are under pinned by an interest in capturing, and making vis ible on the stage, the sen sation of temporal flux that characterizes our existence, the subjective transforma tions relative to the per ceptions of each moment. In Olors yBenet pre sents a possible way of ne gotiating, through theat rical representation, the lit erary dilemma, underlined by Guillamon, of portray an ing urban landscape is that in themidst of rapid transformation. The prob lem of the passage of time in Olors emerges meta phorically through Maria, the Carme Rosa protagonist(played by Molina, Maria Sarda and JoanAnguera inOlors, byjosep M. Benet i Rosa Maria Sarda), who Jornet.Directed byMario Gas. Scenic design by Jon Berrondo.Teatre creates, with her Nacional de Catalunya, 24 February-9Aprii 2000. photo at Photo by PilarAymerich. graphs, each day the same time and in the same
place, a portrait of the The theme in emerges accordance changing reality of the patios of the Raval. with Benet's interest in (expressed his The play is structured in such a way that most recent in the two works) relationship the major plot lines crisscross in time between the an production of meaning and and give way to encounter between two SharonG. Feldman 283
Maria of Ni un de vida. A les generations, that of and that signe galeries nom?s andr?mines in?tils; Joan, the son of her deceased lover. queden no tenen to secret alguns balcons porta i Olors subtly alludes the life ofereixen a la vista el badall dels seus of the old city and its entrails: the physi interiors;d'alguna finestra han saltai cal demolition of and entire plazas city els vidres. Per? a m?s, i sobretot, els blocks, and the construction of architec patis han est?t ferits,al fons, per un as tural "marvels" such the Rambla del esvoranc enorme, com si un monstre which are the result of the so-called Raval, hagu?s queixalat i devorat cases or senceres i esponjament, "opening up," of less pros d'algunes hagu?s deixat, de moment, restes convertides en perous sections of the city.Many of these are munts de runa [...]. (27) sections today inhabited by Moslem immigrants. For Benet, such demolition a Gas and scenic Jon Berron is also disfigurement of historical designer do created an elaborate, three-dimensional memory, of a section of Barcelona, which, as as for the mise en sc?ne. The aban he explains, is just representative of backdrop as more doned half were con the city's history the renowned buildings, destroyed, landmarks that include theChurch of Santa structed of semitransparent tulle, and them, Berrondo a cavern Maria delMar or thebuildings of Antoni among placed ous filledwith rubble and debris. Gaudi ("Ciutats, sentiments" 10).With her hole, to In addition, Gas added a visual photographic images, Maria will try prologue and that were not present in seize any remaining vestiges of the past, epilogue are a Benet's text: at the of the fragments of reality that reflec orginal beginning tion of the desires and memories of those the spectacle, images of the city in its vari ous stages of demolition, which were who occupy these interrupted spaces. evocative of Marias were In Olors, the city of Barcelona is bod photographs, the metallic frontal cur ied forth, constituted and reconstituted projected upon as a tain (the forfire within the space of the theatre being typenormally required a even prevention). At the end of the Maria with large, gaping wound. The play play, can as a and Joan remained frozen on the be conceived requiem for the older stage, a positioned in type of tableau vivant, while section of the city, as its past falls away were veers a state the photographic images projected and toward of disappearance, once again and the theatrical space was of invisibility, buried beneath the rubble crews. inundated by the roaring crescendo of of thewrecking Benet's lyrical stage create a demolition machines. directions poetic personification Olors is one of a monstrous very few contempo of the city being devoured by that even to to rary plays have dared touch being (a possible reference the Barce upon the multicultural realities of Cata lona city council): lonia, its status as a transnational space.
on es a As Catalonia to itself Porta halconera per passa un struggles position within the of cultural pati interior,als darreresd'una illade space integration and is new cases, al barri veli de Barcelona. [...] disintegration that the Europe, Galeries, finestres, canonades, ferros i itmust also take into account the space of fillsd'estendre la roba. Aband? total. cultural pluralism that it calls home. If 284 Arizona Journal ofHispanic Cultural Studies
the aesthetic and political evolution of the ance, silence, and erasure, but also, is as a modern Catalan stage conceived through self-recognition and self-con process of intercultural transactions, the scious desire. In his theoretical writings, re product of attitudes of openness with Brook has emphasized the role of the to international as a gard theatre traditions, "empty space" of the theatre place then the sur can ma contemporary conditions where the invisible unexpectedly a rounding the emergence of postnational terialize, making itself visible and known have to to subjectivity only served facilitate the spectator {The Empty Space 42). this this in process. Underpinning evolution Similarly, this aesthetic of invisibility, an is implicit aspiration for transcendence, Catalonia's presence vacillates and makes a to desire evade locality and localism. itself known. It manages to resist the ab one Hence, of the primary geopathological solute vanishing point. obsessions of contemporary Catalan drama is the limit of cultural specificity. Notes in terms of international 1 Perhaps, Cf. JoanOlle, aswell as the seriesof articles there is much to be projection, gained inLa VanguardiaDigitally Santiago Fondevila. to 2 from this aversion specificity.Today, the See Ramon Teixidor formore on thehistory limits that define the contem of theTeatre Lliure. ontological 3 The Palau contains two porary Catalan stage reach far beyond the performancespaces, theTeatre Fabi? Puigserver and the Lliure, geopolitical borders of Barcelona and Espai under theunder the artistic se. presently supervision Catalonia per Sergi Belbel, Josep Maria of JosepMontany?s and JoanOlle, Benet i Calixto Llu?sa respectively. Jornet, Bieito, as Montany?s has also replaced Pasqual general Llu?s and Carles Santos Cunill?, Pasqual, directorof theCiutat del Teatre consortium. are a list of con 4 among long prominent See, forexample, Pablo Leys readingo?Edipo Catalan directors and XXl?n relation to s temporary play Pasqual personal circumstances. 5 wrights that have traversed international The Mercat de les Flors is situated behind the Palau two borders and witnessed their works pre de l'Agricultura. These structures, miere at venues that include the togetherwith the outdoor Teatre Grec and the Institutdel Teatre, compriseBarcelona's Ciutat del Edinburgh and Salzburg Festivals, the Teatre. Teatro Piccolo di Milano, the Od?on 6 According toGallen, theAgrupado offered Th??tre de l'Europe, and the Brooklyn performances of plays byMoli?re, Shakespeare, Academy ofMusic. Contemporary Catalan Jonson,Goldoni, Musset, Chekov, Strindberg, theatre seems to thrive on such transna Shaw, Claudel, Giraudoux, Anouilh, Rattigan, a tional transactions, creating limitless Ionesco, D?rrenmatt, and Brecht, as well as sev eral modem Catalan In theatrical geography. plays. addition, the founded a series, The question that lingers iswhether Agrupado publication Quaderns to de Teatre,which offered inCatalan transla it is possible foment international in plays tion drawn from an as to on at international repertoire, terest, play the global stage, and well asmodern Catalan drama ("CatalanTheatri the same time maintain a distinct sense cal Life" 23-24). The Adri? Guai school, under of self and The identity. answer, perhaps, thedirection ofRicard Salvat andMaria Aur?lia lies in the of invis conception Catalunya Capmany, staged plays by Brecht, Handke, ible as a whose contours are space plotted Rusi?ol, Espriu, and Villalonga, among others. not teatrea only through strategies of disappear See also Gall?n, El la ciutatde Barcelona SharonG. Feldman ^5
17 and ofGas smise en sc?neof Ohrs durant el r?gimfranquista (1939-1954) Coca, My description at theTeatre Nacional de isbased on LAgrupaci? Dram?tica de Barcelona. Catalunya 7 a One finds, for instance, in the realm of my viewing of video recordingof the produc several self-con tion. I am to M. Benet i for Catalan-language television, grateful Josep Jornet me a video. evocationsof thefirst-person plu providing with copy of this sciouslyparodie 18 See The Point. ral.The six-partseries titled Som 1meravelh, pro also Brook, Shifting duced by the theatrecompany Els Joglarsin 1988 was forSpanish national television, inspiredby Works Cited theGeneralit?t s "Som 6 milions." political slogan at Cultural was Appadurai, Arjun.Modernity Large: Similarly,La cosa nostra the ironic titleof the Dimensions ofGlobalization. Minneapolis: television Andreu late-night programproduced by U ofMinnesota P, 1996. com Buenafuenteand themultimedia production arte como Argan,Giulio Carlio.Historia del historia El Terrat the late 1990s forCatalan pany during de la ciudad. Barcelona: Laia, 1984. autonomous television. Also related is the Badie, Carles. Combat. Valencia: 3 &4,1999. "La which is catchphrase teva," regularlyemployed -. "El drama relatiu." Suite. Barcelona: Proa/ Catalan autonomous television. by TeatreNacional de Catalunya, 2001.17-23. 8 a Xavier Rubert de Ventos presents similar -. en "La nouvelle ?criture dramatique in De la identitata la concept Catalunya: indepen Catalogne: De la po?tique de la soustraction dencia. a la de Actes du litt?rairisation l'exp?rience." 9 of smise en sc?neof My description Vigat? Colloque de Paris III Ecrits Dramatiques La venda isderived frommy as a spec experience Contemporains (1980-2000): LAvenirdune tatorat the of the at theTeatre Adri? premi?re play Crise. (In press). on Guai July 17, 1997. -. "La nueva catalana: De la 10 dramaturgia For more on this reconstruction, see Oriol a perplejidad la diversidad." Homage to Bohigas. Catalan Theater. Ed. Sharon G. Feldman. 11 Cf. Michel Foucault on the ofhet concept Spec, issueof Estreno 24.2 (1998): 39-49. erotopia. -. "Notes de l'autor." Les veus de Iambu. 12 s Cf. Batlle articles, "El drama relatiu"and Barcelona: Edicions 62, 1999. 69-76. "Notes de l'autor." -. Oasi. 2002. 13 Unpublished manuscript, My description ofCasares's mise en sceneof -. Suite. Intro. Enric G?li?n. Barcelona: as a Suite is derived from my experience spectator Proa, 1999. at theSala Beckett on January 19, 2001. -. Les veus de Iambu. Intro. Castells. 14 Joan The image of risingwater and the fearof Barcelona: Edicions 62,1999. were also in one of drowning present Combat, Belbel, Sergi.Despr?sdelapluja. Intro.Carles Badie. Badie s earlier texts. Barcelona: Lumen/Centre Dramatic de la 15Una in velia, conegudaohr premiered 1964 Generalit?t de Catalunya, 1993. at Barcelona's historicTeatre Romea under thedi "Teatre Lliure." al Benach, Joan-Anton. Homenaje rectionof with a set the Bartoli-Asensi, design by Teatrode Catalu?a. Spec, issueof Vanguardia In venerated Catalan painter Josep Guinovart. Magazinel? April 1995: 50-53. a 1975, Llu?sM. Giiell directed version of the Benet i Jornet, JosepM. Baralla entre olors. same play for theCatalan-Balearic circuitof Span Barcelona:Milla, 1981. ishnational television.Baralla entreolorswas -. sentiments i el Souve pro "Ciutats, temps." duced under the direction of Llu?sM. G?ell for nir program for Olors. Dir. Mario Gas. same the television circuit in 1981. Rosa Maria Barcelona: Teatre Nacional de Catalunya, Sarda was cast in the roleof Maria inboth televi 2000. 29-39. Rpt. inOlors. 9-14. -. sion versions. Ohrs. Intro.Josep M. Benet iJornet and 16 Cf. Feldman, "TJn sin l?mites':La Enric G?li?n. Barcelona: Proa/Teatre agujero " mirada fenomenologicade JosepM. Benet iJornet. Nacional de Catalunya, 2000. 286 Arizona Journal ofHispanic Cultural Studies
-. Una olor. Barcelona: vello, conegida Milla, Foucault,Michel. "OfOther Spaces." Diacritics 1980. 16 (1986): 22-27. Bohigas, Oriol. Reconstrucci? de Barcelona. Gallen, Enric. "Catalan Theatrical Life: 1939 Barcelona: Edicions 62, 1985. 1993." Ed. David George and John Lon Brook, Peter. The Empty Space. New York: Ath don. ContemporaryCatahn Theatre:An In eneum, 1968. troduction.Sheffield: The Anglo-Catalan So -. The ShiftingPoint: 1946-1987. New ciety, 1996. 19-42. -. York: Harper and Row, 1987. El teatrea la ciutatde Barcelona durant el nova Casas, Joan. "El miratge de la dramaturgia r?gimfranquista (1939-1954). Barcelona: catalana.'" Serrad'Or48l (2000): 34-7. Rpt. Institutdel Teatre, 1985. inSpanish inADETeatro 83 (2000): 161-64. -. "Teatre catal?. Entre elModernisme i la Chaud uri,Una. StagingPhce: The Geography of creaci? de Agrupado Dram?tica de Barce Modem Drama. Ann Arbor: U ofMichigan lona."Historia del teatre.By Vito Pandolfi. , 1995. Trans. Jaume Fuster. Ed. JosepM. Benet i Chekov, Anton Pavlovich. The CherryOrchard. Jornet and JosepM. Carandell. Vol. 3. Intro.David Mamet. New York:Grove, 1987. Barcelona: Institutdel Teatre, 1993.399-416. Coca, Jordi.LAgrupaci? Dram?tica de Barcelona: George, David, and JohnLondon, eds. Contem Intent de teatre nacional (1955-1963). porary Catalan Theatre. An Introduction. Publicacions de l'Institutdel Teatre. Barce Sheffield:The Anglo-Catalan Society, 1996. lona: Edicions 62, 1978. Guibernau, Montserrat. Nationalisms: The Na -. casa "Casa nova, velia." Avui 29 Jan. tion-Stateand Nationalism in theTwentieth 2001: 36. Century.Cambridge: Polity, 1996. Intro. Cunill?, Llu?sa. Accident. Jos? Sanchis Guillamon, Juli?.La ciutat interrompuda.Barce Sinisterra.Barcelona: Institutdel Teatre, 1996. lona: La Magrana, 2001. -. Laniversari. 2000. Tarragona: Arola, Guimer?, ?ngel. Teatre:Mar i eel,Terra baixa, La -. Barcelona: Proa/Teatre Na Apocalipsi. filia delmar. Barcelona: Edicions 62, 1995. cional de Catalunya, 1998. Ley,Pablo. "Una obram?s que enigm?tica."El Pa?s -. Privado. Escena 37 (1997): 28-41. Digital 18 July2002
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