Gaiás, Cidade da Cultura
Escenas do cambio 2022

4–6 May 2023
Festival de teatro, danza e arte en acción
Gaiás, Cidade da Cultura

Xunta de Galicia




Xunta de Galicia

An intergenerational meeting between stage professionals, cultural managers and artists to discuss what has been, what is being and what is expected in the future for the performing arts.

Artists, performing arts professionals, students and teachers linked to the Escuela Superior de Arte Dramático and the Galician University System are invited to participate in this conversation.

In an atmosphere of trust and reciprocity, issues such as the fundamental changes that the performing arts and professionals in the sector have undergone in recent decades, or the influence of the social context on the creation, revision and programming of works, among others, will be debated.

This will be our third female-led tour in the Escenas do Cambio festival.

In the previous two editions we had the pleasure of hosting Galician women artists from the worlds of dance and drama. This time, the tour is led by five Galician women slam poets.

Silvia Penas, Yolanda Castaño, Nuria Vil, Nieves Neira and Xiana Arias have chosen different spaces in Cidade da Cultura to create a poetry route with their voices.

Poetry as a watercourse, a river that takes us to unexplored places and improvised scenarios. Poetry as a meeting, as a staging device. Poetry as an artistic reflex, visible and vehement. Poetry, which we really need.

Lola Correa

“I went with my words to the street. I hug them, I choose them. I’m free. Although I have nothing”- Gioconda Belli



Idioma da tinta. Yolanda Castaño

What separates Galician poetry written by women today from society is often a transparent plaque, a glass which keeps apart while letting you see.

How can we stop books remaining in their glass cases, as immaculate goods? How do we combat the showbusinessification of written culture, getting a whole language of ink to speak from the display case?

Is there a glass ceiling for Galician poetry written by women, or is it just a glass wall?

The composer Isaac Garabatos sets the poems of Yolanda Castaño to original music in an immersive interdisciplinary dialogue over 15 minutes. An expanded recital which stages a couple of the themes found in the book-record Idioma da Tinta, full of expressiveness, at times provocation, at other times subtle elegance.

Yolanda Castaño.- Poet, editor and award-winning cultural manager with 28 years of work and her own Writers’ Residence in Galicia. Her eight chapbooks have earned awards from bodies including Crítica Española, Librerías de Galicia, Ojo Crítico, Afundación, and González Garcés. Her bibliography is completed with personal anthologies (bilingual, with music, as a poetry comic, etc.), plaquettes in six languages, titles in English, French, Italian, Slovene, Serbian, Macedonian, and Armenian, works as an editor, biographer of poets and as a translator, and seven chapbooks for children. An award-winning pioneer in the fusion of poetry with other arts, with international fellowships as a writer-in-residence in Rhodes, Munich, Beijing, Scotland, Andalusia, Finland, Galicia, and California, her work has reached over 40 countries in Europe, the Americas, Asia and Africa.


Cortar, refogar, afogar. Silvia Penas

A piece of action poetry with live electric guitar and percussion. A reflection on women’s hair as a battlefield and as a symbolic element where messages of subversion and freedom are entangled, but also of extermination and submission. The shaven heads of Francoism and other totalitarian regimes, the dreadlocks of the slaves who mapped escape routes, and the recent protests in Iran which have raised a worldwide wave of sisterhood are a few examples of how women’s hair has been and is a target, excuse, place of conflict and historic events. A diameter of approximately 70 microns carries the dense weight of humanity.

Silvia Penas.- Silvia Penas (Vigo, 1980) is a poet, performer and creator. The starting point for her work is writing texts, with a strong call to investigate slam poetry and other volatile or ephemeral forms of poetry. Her projects also centre on experimentation with the fusion of poetry with other artistic disciplines. Penas and the musician and video artist Jesús Andrés Tejada form the slam poetry, music and video art duo Cintaadhesiva. She has published five books of poetry: Biografía da multitude, As uñas crecen, Diario de ladras, bailarinas, asesinas e flores, Fronteira Paraíso, and O resto é céu, some of which have won awards in different competitions.


Placa. Clo Plas (Xiana Arias y Berio Molina)

This is my name for a concrete terrace. Without balusters. What she liked was to be on the placa in the sun. And to look out. Apparently thrushes have over thirty different songs. Nature tries to be abstract for us. Pin, pin. Clin, clin. Clo plas. Two voices, two rhythms. Low-fi. Radical tenderness. Don’t follow the ball to the end.

Clo Plas.- A duo formed by Xiana Arias and Berio Molina in 2020. Minimalist rap sounds and low-fi pop hooks. Their first EP ‘bafi’ was recorded and produced by Hevi and published on the Regueifa platform in 2022.

Berio Molina (A Fonsagrada, 1979) is an artist and programmer focusing on sound art, audiovisuals and action art. He has been a member of the collectives Flexo and and of the free art and action community Alg-a.

Xiana Arias (A Fonsagrada 1983) is a writer and journalist. She worked at Radio Galega, on the programmes Diario Cutural and Onda Vital, from 2005 to 2020. She formed part of the group Atrás Tigre, with whom she issued the record Fainos Saír in 2017. She has published the chapbooks Ortigas (Espiral Maior 2007) and Acusación (Galaxia, 2009) and the story “As Tigresas” in the anthology O ano do tigre (Rodepris, 2022).


espazo a vulnerar. Nuria Vil and Iria Silvosa

the body extends as the question is pronounced

Espazo a vulnerar is a piece where analogical image, word and sound combine to explore possibilities. Based on the experimental music of MorlitaM, Nuria Vil and Iria Silvosa create a sensorial landscape through which to travel in the construction of identity itself.

Nuria Vil (Nuria Vilán Prado – Santo André de Comesaña).- Reciter. She diversifies her interests in an attempt to make a living as a self-employed creator. Since 2016, she have been part of the slam poetry show Dúas Gamberras e un Micro, and the literary criticism platform A Sega; she manages a profile on Patreon and on the cultural YouTube channel Coidado coa Cadela. She works as a proofreader and also teaches workshops on poetry writing and Galician. Simún (Chan da Pólvora, 2021) is her first and only book of poems published on paper. Transfeminism, anti-racism and social activism are central to her way of creating and positioning herself in the world.

Iria Silvosa – Audiovisual creator specialising in editing and focusing on composition using analogue media. She is a working member of the Numax cooperative and combines her interest in film with the creation of pieces in Super-8, MiniDV or any other medium considered amateur that comes her way.


Tornasol. Nieves Neira

Nieves Neira (poetry) and Rafael Mallo (music) are in dialogue in this piece with a poet who a thousand years ago flung the heart of a bird, a poem, to us.  Ibn Hisn is the name we gather, the path of the arc that bends the writing, the bird which sings in this experiment with sound, body and voice.

Nieves Neira.- Born in Lugo in 1983, where she works as a journalist, and as such is a winner of the Johán Carballeira award. She has published the chapbook Neve de agosto (Chan da Pólvora, 2022) and is a co-author of O feitizo de Maruja Roca (aCentral Folque, 2020). She has worked with such artists as Carla Andrade (Geometría de ecos, Cando os ollos non bastan), Sabela Mendoza (Dedicatoria), Luís López Alonso (Salífero opus 4), Olalla Caamaño and Cris Vilariño (Trenza), and Rafael Mallo (Tornasol), and with the members of Lugo’s performing arts association 3 Monos, with whom she maintains an intense creative friendship. She works closely with the Fundación Uxío Novoneyra and also participates in Espaço Llansol, in Lisbon, where she co-edited the work Fulgor. Lectura danzada de Maria Gabriela Llansol (Ámboa, 2019).

Data sheet

Galicia | 75 min | 9 €
Language: Galician
Meeting point at the Library entrance

IDIOMA DA TINTA: Yolanda Castaño and Isaac Garabatos

Creation, direction, text and voice: Silvia Penas
Electric guitar: Jesús Andrés Tejada
Percussion: Chucho González

PLACA: Clo Plas - Xiana Arias and Berio Molina

Live analogue image: Iria Silvarosa
Music: MorlitaM
Spoken word: Nurial Vil
Photography: © Dania Pol

TORNASOL: Nieves Neira (poetry) and Rafael Mallo (music)

World premiere Premiere

The duo Sons-Nús, comprising the jazz bassist Baldo Martínez and the singer Maite Dono, expand their range of research with a parallel formation in 5/4 time: CatroNubes. Two musicians, Ton Risco (percussion and vibraphone) and Xosé Miguélez (saxophones and flute), and the socio-visual artist Anto Lloveras, open this new line for the duo, which will make its debut at Cidade da Cultura to close the ninth edition of Escenas do cambio. They will explore previous numbers by the duo which emerged around the figure of the Courel poet Uxío Novoneyra, recreated for this new project, while also presenting new pieces which will be the nucleus of their new work, already named Pan de Neve: jazz, tradition, sound/visual experimentation, and poetry will be the research tools for this quartet making its debut in Santiago de Compostela.



The duo formed in 2010 to create a minimalist work around poetry and music. Taking their name from this first creation —Sons-Nús— Maite Dono annd Baldo Martínez continue investigating, always starting with creative nudity, based on jazz, folclore, and free improvisation.

Double bass and voice in a simple amalgam, they look for a path based on listening carefully to nature and words; the echoes poets leave reverberating in the air; the music hidden among the folds of everyday life and silence. Versatility and non-definition would be applicable concepts.

Sons-Nús became what could be called a duo of artistic pilgrimage, open to gathering and investigation; without a pre-set route, but sure that the journey goes via attentive observation and respect for small things.

This new project which is presented for the first time in Escenas do cambio began based on previous work, their poetic and spiritual accompaniment of the poet Uxío Novoneyra, together with the ancestral voices of traditional Galician song. This starting point leads to new places, but never forgetting where they came from. The idea is to stop at each place on the way, taking their time, gradually assimilating everything the journey can offer them.

This is the new route Sons-Nús is taking up with enthusiasm.

Data sheet

Galicia | 75 min | € 9

Voice: Maite Dono
Double bass: Baldo Martínez
Saxophone: Xosé Miguélez
Vibraphone: Ton Risco
Art: Anto Lloveras

World premiere Premiere

Aquellas que no deben morir is a show which brings into the public sphere a subject which is still taboo: death and its private management. Las Huecas works with the younger generations’ images (often precarious) of the processes of passage.

The show uses a political and poetic approach to shed light on the abuses of the funerary industry and the capitalisation of death. The staging is halfway between documentary theatre and experimentation with rituals, where the performers are joined by Núria Isern, a worker in the funerary sector, and Júlia Sánchez, a campaigner for sovereignty in death. Aquellas que no deben morir is an emancipatory project enabling us to disrupt the conventional narrative of dying, a theatrical experience which critics have described as “something which you can’t name but when it is in front of you, you know you’ve never seen it before’’. The show won the Apuntador 2021 award and the Novaveu Critics’ award.


Las Huecas

The group was launched in 2016 to create stage works from collective practice. It has morphed to include all sorts of identities: ethnographic researchers, a punk band, or comic book artists. It lives in a hybrid aesthetic, heirs to the Catalan tradition of parody and satire, influenced by documentary theatre, dramatisation of visuals and objects, and finally, by the liminal experiences of performance art. The starting point for their work is pure research into the notion of performativity of withdrawal, the vulnerability of bodies, the weak games of theatrical codes, the play of masks of individual identities, ongoing and fragmentary dramatisation, and the abolition of hierarchical structures of creation.

Data sheet

Catalonia | 90 min | 9 €
Language: Spanish

Creation: Colectivo Las Huecas
Performers: Esmeralda Colette, Andrea Pellejero, Núria Corominas, Júlia Barbany
Sound space composition: Adrià Girona
Technical direction: Sofía A. Martori
Lighting design: Ana Rovira
Artefacts: Dani García
Mourning consultant: Júlia S. Cid, part of Som Provisionais
Funerary consultant: Núria Isem
Production: Esther Fernandes
Photography: Roc Pont, Helena Roig and Mila Ercoli
A coproduction by Antic Teatre, La Infinita de l'Hospitalet, and Festival TNT

Galician Premiere

Háblame, cuerpo is part of Looking for Pepe, a study begun by Nazario Díaz in 2016 with the starting point of the Cordoba-born artist Pepe Espaliú (1955-1993), branching into a series of investigations of the body, language and territory. Háblame, cuerpo takes its title (speak to me, body) from the text which Juan Vicente Aliaga wrote for the exhibition in the Pabellón Mudéjar of Sevilla in tribute to Espaliú in 1994, a year after his death from AIDS. The study of Espaliú and how he developed links between his work and his situation, marked by the disease, at a time of social and political transformation, inspired a work around matter which changes or disappears, and the idea of wearing away and restraint of a body understood as a physical and social existence.

“I propose an act of resistance which links aspects such as the phonetic transformation of my vocal flow, the notion of circularity, and the idea of erasure through insistence; placing my body in collision with language and with a certain desire for oscillation between geographies and identities.”


Nazario Díaz

Nazario Díaz (Linares, Jaén) mainly works in the field of the performing arts, focusing on the tension generated between the body, the gaze, and writing. He forms part of Vértebro, together with Juan Diego Calzada and Ángela López, with whom he curated the Beautiful Movers festival in Cordoba. Taking a Master’s degree in theatre practice and visual culture at the University of Castilla-La Mancha, ARTEA and the Museo Reina Sofía gave him the critical context for the project Looking for Pepe, which gathers his previous interests around two central concepts: presence and resistance. He has performed with Jorge Gallardo, Isaak Erdoiza, and Societat Doctor Alonso, among others. Since the end of 2018, in Bilbao, he takes part in two collective learning contexts: PICA, an intensive programme assisting a temporary community of artists and researchers in Azala (Vitoria-Gasteiz), led by Idoia Zabaleta and Luciana Chieregati, and the Coletivo Qualquer programme Invitación, which researches and shares methodologies and tools from the field of the live arts.

His work has been institutionally supported and presented in contexts such as Terrassa Noves Tendències (Barcelona), Reims Scenes d’Europe (France), Encuentro Internacional de Artes Vivas de Tlalpan (Mexico City), Naves Matadero – Centro Internacional de Artes Vivas (Madrid), Graner/Festival sâlmon< (Barcelona), Azkuna Zentroa/Alhóndiga (Bilbao), Museo Nacional Centro de Arte Reina Sofia (MNCARS, Madrid) or La Academia de España en Roma (Italy).

He currently lives between Bilbao and Lisbon, where he is developing the projects Otro borrado a través de la insistencia, a solo work in the advanced performing arts creation programe curated by João Fiadeiro for Forum Dança (Lisbon), and Conversation pieces with the Basque choreographer Isaak Erdoiza, investigating sound relating to choreography.

Data sheet

Andalusia | 50 min | Free

Creation and performance: Nazario Díaz
Photography: Patricia Nieto

Free entry until full capacity

The fragility of movement, what one passes by, what one flees from, the fleeting conversations which take us, seeking something, from one place to another; accepting rootlessness and owning the desire to display a twisted wisdom, obliquely illuminated.

In our typical way of thinking with the gut, we recognise “what cannot be said and can only be shown” without the need to ask if it is true or really happened.

Those who talk of the utopia of escape know that there is nowhere to go. It has become global, and is no longer an exclusively European privilege; history is no longer written in Europe.

The house of Europe. So what house is it moving to? With what pockets? We are still trapped in chronological time, the time of history, constantly projecting us into the future, but loaded with all the weight of our past, fallen into ruin but very well conserved and archived.

Given the fragility of the ruins, we imagine a Europe washed, or washed away, by rain, and swept clean of Eurocentrism. A porous Europe, which can be observed, constructed, lived in from other perspectives, also with its own eyes, our eyes.

Perhaps the rainwater will make us more flexible. Perhaps it will let us recover the ingenuity we need to set another place at the table.

Ana Vallés


Matarile Teatro

Its artistic directors, Ana Vallés and Baltasar Patiño, founded the company in 1986 in Santiago de Compostela, where they also run exhibition spaces for contemporary creation. In 1993 they created Teatro Galán, a space for presenting and disseminating contemporary theatre and dance in Galicia, which they managed until 2008. From 1993 to 2005 Teatro Galán was used both for creation and for performance, and hosted over 1,300 shows. In its last three years of life it was used only for creation and for artists in residence.

From 1995 to 2007 they led the En pé de Pedra International Dance Festival in urban spaces. In 2017 they created a non-permanent independent exhibition space, Sala Montiel. They have staged over 30 shows, countless performances and pieces without specific formats, winning the company over twenty awards and mentions in different parts of Spain and Europe.

Shows by Matarile and Ana Vallés have been presented in Boston, Belgrade, Paris, Novi Sad, Oporto, Leipzig, Bologna, Dresden, Edinburgh, Almada, Bayonne, Bucharest, Rennes, Dinan, Douarnenez, Lanester, Brazilia, Tavira, Warsaw, Viana do Castelo, Cluj-Napoca, and Timisoara.

Data sheet

Galicia | 90 min | € 9
Languages: Galician and Spanish

Cast: Pau Cólera, Antón Coucheiro, Claudia Faci, Celeste González, Alfredo Pérez
Text: Ana Vallés
Other texts: Outros textos: Mircea Cartarescu, George Steiner, María Zambrano, Pau Cólera, Antón Coucheiro, Claudia Faci, Celeste González, Alfredo Pérez
Lighting: Miguel Muñoz
Space: Miguel Muñoz, Ana Vallés, Rubén Vilanova
Choreography: The performers and Ana Vallés
Sound: Matarile
Sound editing: Xacobo Castro
Photography and video: Rubén Vilanova
Graphic design: Diego Blanco
Costumes: Matarile
Assistant directors: Daniel Baamonde and Nuria Sotelo
Assisted by: Enrique Gavilán, Javier Méndez Oro, Isabel Iglesias, Pablo Sánchez and Jacobo Bugarín
Production and coordination for Matarile: Laura Sánchez
Production assistant: Marcos Vieitez
Distribution: Laura Sánchez
Coproduction: Teatro Español, Centro Dramático Galego and Matarile
In partnership with Festival Escenas do cambio, Fundación Cidade da Cultura, A Casa Vella and Talía Teatro

World premiere Premiere

ONE NIGHT AT THE GOLDEN BAR is a corny, musical declaration of love from a queer viewpoint; the search for a state of vulnerability which reveals the power of affection and the beauty hidden in fragility. From the imaginary of the heavenly figure of the angel, it runs through a sea of questions: what kind of masculinity governs us, what identities are in a vulnerable and monstrous place at the same time, how to sing to love out of time, love which is infinite, politically incorrect, rebellious, sacrificed. How can we protect these bodies and identities when they shout out in public how it feels to love; it may be that this is the moment to fight back. There is a strength in all very fragile things; as Rilke said, “all angels are terrible”, and as Ana Torroja sings in La fuerza del destino: “one night in the golden bar I decided to attack”. This is the attack of the golden bar, a hijacking.


Alberto Cortés

Alberto Cortés (Málaga, 1983) is a stage director, playwright and performer of his own drifts. He graduated in Stage Direction and Dramaturgy at the ESAD in Malaga and Art History at the UMA. In 2009 he began his stage career with a bastard and peripheral dramaturgy that has been going wild over time. Since then, he has been bumping into various creators and friends who have been an inspiration for his own path, creating pieces of different formats and disciplines in an effort to maintain his hope in the intangible and the human. His work has developed over the years through theatre, dance, performance, folklore, flamenco and site-specifics; He accompanies the processes of other creators through direction and dramaturgy and gives meeting workshops where he shares his research. Lately, his work has focused on understanding the stage as a space of desire and on the romantic relationship with the spectator. Last year he published Los montes son tuyos (Continta me tienes, 2022), which brings together the texts of his last two plays, El Ardor and One night at the golden bar. Today he inhabits his identity as a creator, performer, director, playwright, accompanist, teacher, son, brother, uncle, lover, and friend.

Data sheet

Andalusia | 55 min | € 9
Language: Spanish

Concept, dramaturgy, texts and performance: Alberto Cortés
Music and soundscape: César Barco Manrique
Lighting: Benito Jiménez
Costumes: Gloria Trenado
Movement coach: María Cabeza de Vaca
Staging assistance: Víctor Colmenero
Photography and video: Alejandra Amere

In partnership with Teatro Calderón de Valladolid, Junta de Andalucía (Residencias Ágora), Conde Duque, Graners de Creació
Thanks: La Poderosa, Labo XL, Rebeca, Iver, Claudia, Mariquiña, Esther and Peru

Galician premiere Premiere

Welcome to the casting for the role of Grace, the protagonist of Lars Von Trier’s non-film Washington. After Dogville (2003) and Manderlay (2005), Washington was supposed to close Von Trier’s triptych about human weakness, but it never went beyond a draft. The film exists only as a possibility, as a potential.

Beyond the script, the proposal links in this sense to what interested Von Trier about the mechanisms of fiction: to question a system that draws the limits of the real and the normative with a marker that is too thick. His films raise questions about what can be “true” —and what cannot be—, both in front of and behind the camera.

Matías Daporta

Multidisciplinary artist, cultural administrator and curator. His latest work, #spanishwashing, is a research project conducted from June 2016 to February 2020 on current cultural homogenisation strategies, comprising pieces in various formats which have been shown in the Museo La Neomudejar, AADK Murcia, Cumplicidades in Lisbon, ARC in Switzerland, NAVE in Santiago de Chile, and the UVE gallery in Buenos Aires, and in a ten-day workshop in NIDO, Uruguay.

He is also the curator of the live and internet arts festival Me gustas Pixelad_ at LaCasaEncendida (Madrid) and was codirector of LaJUANGallery alongside Juan Gómez Alemán until early 2018. He created the initiative Anonymous Museum for Unsigned Works in Amsterdam, which offers a safe space for artists whose work opens them to social or political danger. He is also one of the founders of the Corpo(a)Terra dance festival in Ourense.

Others of his works of art were presented in international contexts such as Veem, Arti et Amicitiae, Corridor Space Project, and Frascati Theatre (Amsterdam); Projection Room in Brussels; Oxo Tower in London; the Bristol Mental and Physical Wellbeing Centre; A Casa do Povo in São Paulo; and Sala Gaivotas, Espaço Comercio, Teatro Ibérico and Sala Trinidad in Lisbon. He has received support from the Amsterdam Fund for the Arts (AFK), AGADIC in Galicia, production grants from the city of Madrid (INJUVE) and travel grants from PICE.

Data sheet

Galicia | 90 min | € 9
Language: Spanish

Director: Matías Daporta
Idea: Matías Daporta and Deniz Buga
Assisted by: Ignacio de Antonio Antón, Julián Pacomio and Deniz Buga
Script: Matías Daporta
Script editing and assistance: Ignacio de Antonio Antón, Julián Pacomio and Deniz Buga
Casting director: Alejandra Allaf
Reader: Daniela Jacques
Auditioning actresses: Maria Roja, Sara Laya, Alicia Casas
Boom operator: Julián Pacomio
Set design: Matías Daporta and Julián Pacomio
Costumes: Matías Daporta
Video: Alba Sastre
String quartet: collaboration with the orchestra of the University of Santiago de Compostela
Production: DESFOGA
Legal consultant: Ania González
Research: Matías Daporta in partnership with Zentropa
Costumes loaned by: Bottingaard

Thanks: to all the people who came to read the script in its different states and who nourished it with their comments; to Fábrica de Creación L’Estruch
Supported by: Teatre Lliure, Becas Carlota Soldevila, LaPoderosa

Galician premiere Premiere

Afectos closes the dance trilogy on “the vulnerable” by Kirenia Danza. In the context before, during and after the Covid-19 pandemic, through dance, the project examines phenomena relevant to contemporary Galician society: the latest Galician diaspora (E-migrantas, 2021), care and vulnerable or socially excluded collectives during the healthcare and economic crisis which arose from it (Primeiro a vida!, 2021) and now Afectos, which again considers the current moment of the fundamental rights, support and affection claimed by migrant and displaced people, forced to move by economic reasons, extreme weather, persecution, conflicts, or other reasons.

POLICE RECORDS (clic on each picture to download)


Kirenia Danza

Kirenia Danza is a Galician dance company founded in 2019 by Kirenia Martínez Acosta, choreographer, dancer and actor, who has also co-directed the company Entremáns since 2006. Any choreography by Kirenia Danza seeks freedom in images and gestures, so that they can introduce feelings and emotions which renonate in the bodies and corporeality of the performers. Her creative method can be summarised in the choreographicc significance of the impromptu and itinerance (improvisation, emergence), determining a unique choreographic language, dreamlike and poetic, where the performers define actions, words and thoughts, flowing towards the concept of the discourse in question.

At present she combines her own creations with commissions, cinematographic and literary collaborations, educational projects and European partnerships with international entities, including E-migrantas, the first part of the Vulnerables trilogy; Instante Gradual, selected in the first call for entries by Movilidad Europea I-Portunus; Vagaface, Brumalión e o Can de Pedra, based on an unpublished story by Uxío Novoneyra and first presented at the Aeroplio Theatre in Athens; Otero, la bailarina española, a choreographic research project and winner of the first competition of SGAE’s Laboratorio Coreográfico; Tres tristes 2.0,and Primeiro a vida!, second part of the Vulnerables trilogy, first presented on 23 April 2021.

Data sheet

Galicia | 55 min | € 9

Author/Choreographer: Kirenia Martínez Acosta
Director : Kirenia Martínez Acosta
Performers: Estefanía Gómez, Leodán Rodríguez, Cristian “Bal” Castro e Kirenia Martínez
Poems: Antón Reixa, Demián Ravilero, Uxío Novoneyra
Text assistance: Keina Espiñeira por cortesía de ESOMI (UDC)
Playwrighting assistance: Alejandra Aguirre
Costumes: Jandro Villa
Technical support: Equipo Creativo RTA
Light space: Diego Vilar
Soundscape: Bruno Baw e Sumrrá
Graphic design: Niko Alvarellos
Photography: Kirenia Danza
Production: Uxío Novo por cortesía da Fundación Uxío Novoneyra, Paulo F.M. e Serea Films
Co-production: Centro Coreográfico Galego, Agadic, Xunta de Galicia
Distribution: Kirenia Danza e Serea Films

World premiere Premiere

A dramatised poem written and directed by Roberto García de Mesa and performed by Ylenia Quintero, Delia Hernández and Ylenia de Luis, about four dualities deeply affecting humans today: body/non-body; solitude/non-solitude; opression/non-opression; and time/non-time.


Roberto García de Mesa

Roberto García de Mesa (Santa Cruz de Tenerife, Canary Islands) is a poet, playwright, narrator, essayist, philologist, curator, stage director, visual artist and musician. A graduate in law and Spanish philology, with a doctorate in Spanish philology. His many published works include over 70 books of poetry, plays, short stories, essays, conversations and critical editions, as well as five CDs of his musical compositions. His texts have been translated into languages including English, Greek, Romanian, French, Italian, Slovene, German and Portuguese. In 2015 he created his own theatre company. He is a member of the Spanish Academy of Performing Arts.

Around twenty of his works have been staged. Among them, Meditaciones en (6) (2008), El no actor (2011), Hamlet post scriptum (2012), La edad del frío. Conversaciones con Antígona (2015), 1/3, Refugio, Luminarias, Oratorio on/off, Isla mínima (2018), Naturaleza muerta sobre fondo blanco, Segismundo golpea primero, Variaciones de la razón (2022). Most of his texts destined for the scene have been edited by specialized publishers. His latest include Variaciones de la razón y otros textos (Ediciones Invasoras, 2020), Obras de teatro. Selección (Roma, Greek translation by Ifigenia Ntoumi, 2021), and Combate después del paisaje (Invasoras, 2023).

In addition to his work in the creation field, he has investigated some of the current trends in the performing arts in the 20th and 21st centuries. As a result, he has published numerous articles, essays and his doctoral thesis, El teatro de vanguardia en Canarias 1924-1936 (Idea, 2012).

Data sheet

Canary Islands | 50 min | € 9
Language: Spanish

Direction, text, staging, soundscape, costumes, and stage set: Roberto García de Mesa
Performers: Ylenia Quintero, Delia Hernández, Ylenia de Luis
Lighting: Carlos Ramos
Audiovisuals: Digital 104 and RGM
Production: Compañía Roberto García de Mesa
In partnership with: Festival Escenas do cambio – Fundación Cidade da Cultura de Galicia

World premiere Premiere