Is a new model of public theater possible?

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Since its creation in 1976 by a group of independent Catalan theater professionals such as Fabià Puigserver, a director of the Lliure Theater had never come to Madrid to explain his project. Is the Lliure beginning to be interested in the rest of Spain? “Al Lliure has always been interested in the rest of Spain and the Lliure project is currently so good that it is worth explaining”, says its director, Juan Carlos Martel Bayod, who has been in Madrid these days.

Since his project was chosen in a public competition to replace Lluís Pasqual in 2019, after his controversial departure from the direction, Martel Bayod it has launched a code of ethics, new statutes or a protocol for the prevention of sexual harassment, it has created a school of thought and the Lliure carries out actions in educational centers at all stages, from primary school to university. The Lliure, which receives public funds, is a private foundation on whose board of trustees the Ministry of Culture, the Barcelona Provincial Council, the Generalitat and the City Council are represented. Martel defends a change of model that avoids self-absorption and institutional monologue, although throughout our conversation he admits that he encounters resistance, many of them internal.

Today, the program is handed over to decentralization and we go to Bilbao, hours before the events are held there. Performing Arts Max Awards, whose gala is directed this year by Calixto Bieito, and at Girona High Season Festival, which begins next October 8 with a significant presence of international creators such as Alain Platel, Romeo Castellucci or Christiane Jatahy. We chat with its director, Salvador Sunyer, about new formats, money and “the corpses” that this year and a half of pandemic has left in the Spanish theater scene.

We are also going to Las Palmas, where we were talking with Mario vega, a director who has staged works such as Moria, in which he introduces the viewer to a refugee camp on Lesbos or Clara and the abyss, a text by the Uruguayan Gabriel Calderón on death. Vega explains the political nature of his theatrical commitment and also denounces the “ninguneo” suffered by the theater that is made in the islands by the public theaters of Madrid or Barcelona.

In addition, Eva Cruz shares her fascination for the novel The power of the dog (Alliance), of Thomas Savage, which has adapted to the cinema Jane Campion and Eduardo Maura discover us the work of the Mexican artist Lorraine Ancona, at the Intersticio gallery in Madrid.

Eva Cruz and Eduardo Maura work at La Hora Extra. In the technical direction, María Jesús Rodríguez. In networks, Alejandro Becerra.

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