Gaiás, Cidade da Cultura
Escenas do cambio 2022

Festival de teatro,
danza e arte en acción

Follas Novas bookshop, which is celebrating its 50th anniversary this year, will host the presentation of the last two books by Marc Caellas on the day before the festival: Dos hombres que caminan (with Esteban Feune de Colombi) and Notas de suicidio (with David G. Torres), both closely linked to two shows that formed part of the programme for Escenas do cambio in 2021 (Suicide notes and El paseo de Robert Walser).

Dos hombres que caminan (Ediciones Menguantes, 2022) is a literary artefact written by Marc Caellas and Esteban Feune de Colombi, which details twenty unique walking routes. Together they walk through trains, rejections, sunrises, abandoned palaces, smells, silences… It is not a self-help book; it is a reflection on walking. But it is a lifeline to cross abysses or a lens to observe, walseriously, the world and its details through something as simple as walking: literature, friendship and a sense of humour at four kilometres per hour.

Notas de suicidio (La Uña Rota, 2022) is an essay based on the latest texts written by great artists, writers, and creators. The suicide note is the last attempt to communicate with another human being. We always address someone in a suicide note. This book brings to paper the spirit of the show of the same title that Marc Caellas and David G. Torres have brought to Escenas do cambio 2021.

With the participation of the authors Marc Caellas and Esteban Feune de Colombi, as well as Lola Correa, Artistic Director for Escenas do cambio.

Free of charge after collecting your invitation.

Notas de suicidio / Dos hombres que caminan Wednesday 4th May, 7pm Follas Novas Bookshop Book presentation

The María Casares – Pedro Soler exhibition. Collioure 1989, with which the Escenas do cambio pays tribute to the Galician actress in the year that commemorates the centenary of her birth, shows objects and unpublished pieces from the recital given by María Casares in the French city of Collioure in 1989, accompanied by the flamenco guitarist Pedro Soler.

The exhibition includes original documents, such as programmes, posters, articles in newspapers and magazines of the time, as well as photographs and manuscripts of the actress herself, in addition to the record Amor Divino Amor Humano that María Casares recorded in the 1960s with verses from the Cantar de los Cantares and love-themed poems by Spanish authors, such as Quevedo, San Juan de la Cruz, Miguel Hernández and Vicente Aleixandre, to name but a few.

  • Gaiás Centre Museum. Floor 0
  • Free admission
  • Monday to Sunday from 10am to 8pm


Photograph: Pedro Soler, María Casares Collioure – 1989. Private album: Pedro Soler. © Image protected by copyright and used exclusively to promote the María Casares – Pedro Soler exhibition. Collioure 1989 as part of the Escenas do cambio festival. Copying, reproduction and distribution are forbidden without the prior consent of the festival organisers.

María Casares – Pedro Soler. Collioure 1989 5th May to 28th August , 10am to 8pm City of Culture Gaiás Centre Museum. Floor 0

A meeting to share the memory and vindicate the mark on history made by María Casares as a pioneer and reference point for 20th-century theatre. With the participation of:

  • Pedro Soler. A guitarist who was introduced to flamenco by the Andalusian exiles from his hometown and accompanied María Casares throughout her career. He will give a short recital at the end of the event, where he will perform some of the pieces of his recital with María Casares in Collioure (France) in 1989. His guitar will accompany the actress’s voice in a unique recording brought to this event.
  • Anne Plantagenet. Writer and author of the biography L’Unique, Maria Casarès  (The Unique Maria Casares). Alba Editorial 2021), dedicated to the Galician actress and based on her love letters with Albert Camus.
  • Lluís Pasqual. Theatre director and actor. Founder and member of the Board of Directors of the Teatre Lliure, National Theatre Award. He had the privilege of attending several of María Casares’ performances as a spectator.
  • Lola Correa, Artistic Director for Escenas do cambio 2022, will lead the colloquium.


Pedro Soler was born in 1938 in Toulouse, then capital of Republican Spain in exile. Fascinated by the art of flamenco, he was initiated by Andalusian exiles, especially by Granada-born J. M. Rodríguez. Later, the flamenco singer Jacinto Almadén took him to Madrid and appointed him second guitarist in his company Sons Negros. The first guitarist was the famous Pepe de Badajoz, who would become his friend and teacher.

The dancer “La Joselito” took him under her wing and passed on to him the art of accompanying flamenco. After Almadén’s death, Pedro Soler spent many years with the masters Pepe de la Maltrona and Juan Varea. He occasionally accompanied Carmen Amaya, Carmen Albéniz, Enrique Morente, Miguel Vargas, Carmen Linares and Inés Bacán. He also performed numerous solo recitals all over the world. Together with Germaine Montero, María Casares and Anne Alvaro, he created poetry recitals around the works of Lorca and Machado.

More recently, Pedro Soler recorded the albums Barlande (2010) and Al viento (2016), accompanied by the cellist Gaspar Claus, and Serrana (2017) with the flamenco singer Inés Bacán and again Gaspar Claus on the cello.

Anne Plantagenet.- The writer Anne Plantagenet (Joigny, 1972) spent her childhood in the Aube region and then lived in Dijon, London and Seville before settling in Paris. She taught abroad and at the Institut d’Etudes Politiques in Paris. She also runs writing workshops and is a regular lecturer at schools. She is the author of some fifteen books, novels, chronicles, short stories, biographies and some thirty translations from Spanish.

Her texts explore the question of identity, exile, the couple and love. Her latest book, L’Unique, Maria Casarès, dedicated to the Galician actress and based on her love letters with Albert Camus, was published in Spain by Alba Editorial, translated by Juan Vivanco.

Lluís Pasqual.- Lluís Pasqual (Reus, 1951) began directing in 1968 with Arnold Wesker’s Roots. He was one of the founders of the Teatre Lliure in Barcelona and was in charge of its direction from 1998 to 2000 and from 2011 to 2018. Throughout his career, he has been director of the Centro Dramático Nacional, of the Odéon-Théâtre de l’Europe in Paris, responsible for the stage section of the Venice Biennale between 1995 and 1996 and curator of the Ciutat del Teatre project in Barcelona between 1997 and 1999. In 2004, he joined the Arriaga Theatre in Bilbao as Artistic Advisor and joined the Soho CaixaBank Theatre project in Malaga.

He has received many awards: the Premio Nacional de Teatro de la Generalitat, the Premio Nacional de Teatro del Ministerio de Cultura, the Premio Ciudad de Barcelona, the Cruz de Sant Jordi from the Generalitat de Catalunya. He has also been named Knight and Officer of Arts and Letters and Knight of the Legion of Honour by the French government. In 2018, he was awarded the Atlántida Prize and the Gold Medal for Merit in Fine Arts.

Colloquium-recital in tribute to María Casares Thursday 5th May , 11.30am City of Culture Gaiás Centre Museum. Floor 0

A dialogue with memory, with a domain and with a collective heritage in the wake of oblivion. Sons do esquecemento o A navalla do Tempo offers the spectator a sensorial experience to encourage reflection on a legacy that should be given a voice. Mateo Feijóo moves to the village of Vilar, in the Baixa Limia region of Ourense, to construct a story based on his childhood memories and experiences. Starting from the intimate, from the life experiences and the everyday life of the people in this geographically and metaphorically isolated region, it brings together the sensations and the knowledge that lie at rest in the memory, but bruised by the traces of time. Photography and sound recordings constitute the key elements of a space for encounter and exchange, where the spectator must enter into dialogue with the work by following his or her own path. “Letting oneself be crossed by the path implies a sensory listening. […] we follow a path in memory, in knowledge and in values that are suspended on the razor’s edge, on the verge of disappearing”.

Mateo Feijóo

Artistic director, choreographer and programmer, Mateo Feijóo was director of the Escena Contemporánea festival in Madrid, of the Teatro Laboral (City of Culture of Gijón, Asturias) and of Naves Matadero-Centro Internacional de Artes Vivas de Madrid, the latter until March 2020. He has worked as a consultant and collaborator on numerous projects, platforms and initiatives, such as Festimad, the Centro Coreográfico Galego and the National Arts Council of INAEM, to name but a few. He curated the exhibition The kitchen, Homage to Saint Therese by Marina Abramovic, for Spain and El archivo del polvo. An Ongoing Project by Elena del Rivero, presented on 11th September 2021 at the Es Baluard Museum in Palma de Mallorca, on the occasion of the 20th anniversary of the attacks on the Twin Towers in New York. As a teacher, he teaches on the Master’s Degree in Theatre Creation at the Universidad Carlos III de Madrid.

Data sheet

Creation of sound space: Txema González de Lozoyo
Photography: Ximena Garrigues and Sergio Moya Mesa
Residents of the village of Vilar
Artistic direction: Mateo Feijóo
‘Facendo novos camiños’ residency. Gaiás Artist-in-Residence Programme 2022

Galicia | Installation


World premiere

Meeting with the participants: 5th May at 6pm. Free of charge after collecting your invitation
Free admission:
- Friday 5 May from 4 to 8 p.m.
- Sunday 8 May from 18:30 to 20 hours
- From 10th to 14th May from 10am to 8pm
Sons do esquecemento ou A navalla do tempo Thursday 5th May , 6pm City of Culture Gaiás Centre Museum. Room 2

HH is a fable.

HH is a monster who likes to look out of the window when the sun is about to disappear. A monster who likes gardens because gardens are things that grow when they are cared for and worked.

HH is a love story.

HH is the son who can hardly wait to get out the door and who does not intend to return until all his dreams are fulfilled.

HH is our son. And children need to know when to be shown where the door is so that they can leave.

HH is theatre.

But it is also something else.


An irreverent gaze and careful staging characterise Voadora’s work. Under the direction of Marta Pazos, the Galician company is committed to research in contemporary creation with a team made up of complementary artists from different disciplines whose hybridisation is resolved, in each piece, in the act of deep and sincere love for art. The ethical vision of theatrical work, the exquisite care for each element, and a deep reflection on reality from the peripheries characterise Voadora. As a result, the company can transform public space to present unique productions in which the company is a powerful machine for generating experiences and unanswered questions, always leaving its mark.

Data sheet

Galicia | 90-105 min | 9€

Directed by: Hugo Torres
Play written by: Fernando Epelde, Hugo Torres, Diego Anido
Text: Fernando Epelde
Set design: Marta Pazos
Wardrobe design: Montse Triola
Original score: Hugo Torres, Mariña Paz Otero, Tom Archi
Live score: Hugo Torres, Jose Díaz
Lighting: Ivan Casal
Production: Jose Díaz
Production Assistant: Vicente Conde
Assistant Director: Diego Anido
Set Design Assistant: Pablo Chaves Maza


World premiere
Hoax Hamlet Thursday 5th May , 8pm City of Culture Gaiás Centre Museum. Room 1

A performance specifically designed for the City of Culture complex. It is a contribution in which the place, the audience, and the artists’ presence become an indivisible whole. (Raíz de dos) starts from an empty, formless space in which the audience is dispersed, without any reference point or ambiguous information about how the performance will develop. From that moment on, different elements progressively appear as the fundamental axis around which the work revolves, which has a circular configuration. The action takes place both in this focal point and on the peripheries of the space and the audience, reflecting on the technical aspects of the performative device itself.

Nieves Correa and Abel Loureda

After long-separate careers that began in the early nineties, both in the creation and organisation of events, in 2012, they started a new phase of working and living together. Since then, they have also worked in other collective research processes around performance, such as NeoNeoDADA (Germany and Switzerland), VaconVino (Segovia) and Redoble (Bajo Aragón). The creative process of Nieves Correa and Abel Loureda is related to their lives and their hopes as an unconscious reflection of their process of shared knowledge and, therefore, understanding of the world. As so often is the case in our lives, chance is a determining factor that resolves many of their works. In their performances, they always work with a fixed “score” to control TIME, SPACE and their PRESENCES. What happens in the intricacies of this “score” is always a surprise for both the performers and the audience. They have participated in numerous festivals and projects, including Escenas do cambio (Santiago de Compostela); La Acción. Una historia provisional de los 90–MACBA (Barcelona); La Acción contra la Poesía y viceversa-Fundación Joan Brosa (Barcelona); NIPAF (Japan); Espacio de Arte Contemporáneo EACC (Castellón); Bone Festival (Switzerland), Centro de Arte la Regenta (Gran Canaria) and Sophiensalle (Germany). Kiasma Museum (Finland). FAAC (Ecuador), Catalystic Art (Northern Ireland), Museo Vostell (Malpartida de Cáceres). In 2019, they received the Castile and León Foundation grant for the province of Segovia for the project (12) Actos de Memoria (Acts of Memory).

Data sheet

Castile and León | 45 min
Performance | Site-specific

Free of charge after collecting your invitation


World premiere
(Raíz de dos) Friday 6th May , 6pm City of Culture Outside

Based on a reflection on the very act of walking, the processes of artistic creation and the representation of paths and walkers from anthropology to art, Vigo-born Mercé de Rande combines movement and video in a piece specifically constructed for an exhibition space in the Gaiás Centre Museum.

In the title, Mercé de Rande refers to one of A. Giacometti’s most famous sculptures, “L’Homme qui marche” (The man who walks), to elaborate on her own story about the experience of walking and how it connects us with memory and time, with space and also with nature.

Mercé de Rande

She is an interdisciplinary artist, and her work falls between the performing arts and the visual arts, where performance occupies a privileged place in her poetic discourse and artistic development. She has worked as an actress, dancer, and choreographer for the French platform, a pioneer in researching and applying new technologies on stage. She has carried out numerous collaborations, performances and exhibitions (individual and collective) in Europe. She trained in contemporary dance, performing arts and movement research in Portugal, France, Switzerland and New York. In 2008, she founded Á Mercé das CirKunsTanzias, a platform for research and multidisciplinary creation, with which she directed two productions in Galicia. In 2014, she was the official choreographer of the year in residence at the Tanzhaus Zurich, where she premiered her first international production, LP4am Sculpture DeVice and began the process of her latest creation, Lost & Dead in Thunderland.

Data sheet

Galicia | 45 min

Concept, direction and performance: Mercé de Rande
Graphic work relating to specific places (photos, videos and drawings): Mercé de Rande
Video creation: Jesús Andrés Tejada
Co-creation of video and sound space: Chucho González
Playwriting assistance: Afonso Becerra
Fine Arts Consultancy: Silvia González
Assistance in the initial development of the concept: Rafa Xaneiro
‘Facendo novos camiños' residency. Gaiás Artist-in-Residence Programme 2022

Free of charge after collecting an invitation


World premiere
MU-Danza. Unha muller que camiña Friday 6th May, 7.30pm City of Culture | Gaiás Centre Museum Space REGA 3

Doing a solo that would be a lyric abstractionism.

But this body is a human form, and, on stage, it is figurative of that same form. Even though it is figurative — in the sense that it represents — it can, by way of an exercise, be composed of movements as if in a lyrical abstractionism. Or is it rather a stylized figurativism?

(A solo between lyrical abstractionism and figurativism).

Once it is figurative, what once was abstract ceases to be so. And immediately something else adds itself to it (current). One single person, alone on a stage, hardly avoids not to be so … but is someone else here? I’ve been here for so long. What is this? What are these things? Oh! It’s me! Where am I? I’m stuck in this place. Are they (chains)?*

*The portuguese word “corrente” – from the latin currens (running, hastening) – meansboth “movement”, in the sense of an artistic movement, and “chain”, as in being chained, restrained or confined to such a movement.

Tânia Carvalho

Tânia Carvalho (1976) was born in Viana do Castelo and lives in Lisbon. She is best known as a choreographer with a career spanning over 20 years, she also works in other artistic fields, such as music, drawing, and film.

Her choreography work includes pieces for the Lyon Opera Ballet (Xylographie), the Company of Elders in London (I Walk, You Sing), the National Ballet of Portugal (S), the Paulo Ribeiro Company (How will I do this?), Dançando com a Diferença (Doesdicon), and Ballet National de Marseille (one of four periods in time), among many others.
She has been developing several musical projects, of which stand out Madmud, Idiolecto and dubloc barulin. In 2018, she directed A Bag and a Stone – dance piece for screen, her first film.
She received the Young Creators Award 2000, with Inicialmente Previsto, and received the Prémio Autores from the Portuguese Society of Authors, for Icosahedron (2012) and oneironaut (2021).

Data sheet

Portugal | 45 min | 5 €

Choreography and Interpretation: Tânia Carvalho
​Music: XNX
Light Concept: Tânia Carvalho
Light Design: Anatol Waschke, Tânia Carvalho, Zeca Iglésias
Promotional Photography: Rui Palma
Promotional Video: Manuel Guerra
Production: Tânia Carvalho, Agência 25 & Estúdio 25
Executive production: João Guimarães (ata 2020)
Administration and financial management: Vítor Alves Brotas (desde 2021)
Coproduction: Centro Cultural Vila Flor; Teatro Aveirense
Artistic Residencies: Centro Cultural Vila Flor; O Espaço do Tempo; Teatro Viriato
Estúdio 25 is financed by the Government of Portugal – Ministry of Culture / Directorate-General of Arts for the biennium 2021-22


En Galicia
Grasped by intuition Friday 6th May, 9.30pm Salón Teatro Santiago de Compostela

A play-essay that mixes theatrical monologue with magic, where the main character accompanies his discourse of reflection and confession by reading his diaries: it shows how all aesthetic experience, including the magical experience, has its origin in the perception of each person and not in the reality that surrounds him or her. It offers the audience a rite of generating convention and truth, where magical elements are detached from mysticism so that they can be contemplated in their mundane reality. The play is accompanied by a small book that serves as an entrance ticket.

Miguel Ponce de León

Galician multidisciplinary artist. Veneficio (de lo cotidiano y cómo remediarlo) is the first project of the newly created company Teatro et al., which was formed specifically for this play. Previously, Miguel Ponce de León was a member of the university theatre company Lobishomes at the University of Santiago de Compostela, where he worked as a playwright, director and performer in plays such as QuinuituqO baúl cheo de xenteInsilio (Xuventude Crea Award 2018) and O corno do derradeiro día. He has also collaborated with circus and cabaret festivals and collectives in Portugal, Italy, Austria and Poland and has participated in the organisation and management of the San Pedro Sen Paredes Festival (Santiago de Compostela, 2020) and the first two editions of the Pataca Minuta Festival in 2018 and 2019.

Data sheet

Playwriting, production and performance: Miguel Ponce de León
Direction: Jose Gregorio Vera and Tyler McKechnie
Technician: Martín Gómez
Set design, wardrobe and layout: Clara Copena Amigo
Photographs from the book: Julia González Yáñez
A Collaboration with the University of Santiago de Compostela and Santiago City Council.

Free of charge after collecting an invitation
Veneficio (de lo cotidiano y cómo remediarlo) Saturday 7th May, 5pm University Church Santiago de Compostela

Escenas (Con)Textualizadas continues the project initiated with Escenas en danza, in the previous edition of the festival, with the idea of bringing together different Galician artists who, individually, but with the idea of a collective, work on the creation of a piece that seeks to go through the bowels of the Gaiás Centre Museum with a singular route, to express the art of text through a tour. Once again, on this occasion, voice will be the vehicle and focus of an exceptional space that will discover a new scene in new spaces through this journey.

Five Galician creators give their voice to the silent and magical echo of the corner they have chosen as the resonator for their artistic offering.

Murmurios cuánticos (Quantum Murmurs). Helena Varela

Use the body to change the voice, to change the skin. Break the word. Mmmmmm sound. Enjoyment. The microscopy of the word as a means of constructing the true. The first murmur.

Murmurios Cuánticos (Quantum Murmurs) is a work in progress that uses the microscopic of the skin to construct a language of my own feminine universe.

Helena Varela.- Graduate in Dramatic Art from the ESAD of Galicia and holder of a Master’s Degree in Performing Arts from the University of Vigo. Performer, actress, producer and distributor of the Cinema Sticado collective, a collective formed together with Xosel Díez, with a long tour of national and international festivals, including in Poland, Bulgaria, Switzerland and Portugal, to name but a few. Recognised at the AnimArt Festival in Łódź (Poland) in 2017 — Award for the Most Innovative Approach to the Art of Puppet Theatre — and at the XXVI International Puppet Theatre Festival in Plovdiv (Bulgaria) in 2021 — Award for Technological Innovation in the Development of a New Stage Language. She has also participated in audiovisual productions such as 9 Fugas and A Esmorga, and is part of the Estroar collective, made up of artists like Rosa Neutro and EstudioIA, based on the Morrazo peninsula.

SEX. Helen Bertels

Showing the pain of the opening
When you get there
Total absence of tension
Looking up to the sky
Nothing is closed, neither the eyes, nor the mouth
Then laughter, which gives way to a deep cry
Despair, as my hand touches me, to know if I’m still here

I want to be weak
I want to be vulnerable.
I want surrender.

SEX is born out of a reflection on loneliness and perhaps madness, on openness, the search for connection and the encounter with emptiness.

Helen Bertels.- German actress, author and artist based in Santiago de Compostela. She trained and worked at the Teatro Galán, in En Pé de Pedra and with the company Matarile Teatro for almost 10 years. After her training at the CECC (Centro d’Estudis Cinematogràfics de Catalunya), she began to explore other forms of expression and started her professional work as a writer (latest publication Diario de Nimiedades), visual artist (Visual Poems – series of mixed media collages), as an actress in her own creations (Wir Frauen, Amor, Nimiedades) and in film and TV (Migas de pan, Vergüenza, Cuéntame cómo pasó, Luarada).

A los claros del bosque no se va a preguntar. Ana Vallés

“Some figure in the distance is about to show itself. Figures that vision craves in its blindness, never overcome by any brightness. Some animal without a tale watches from this distance. Some shred of unseen whiteness, something, something that is not a sign. And the light does not reflect or bend or spread out.” María Zambrano, Claros del bosque.

Ana Vallés.- Author, director and actress. Regular director of the company Matarile Teatro since its foundation in 1986, together with Baltasar Patiño, she frequently collaborates with other companies and institutions. From Matarile, she has managed spaces for creation and dissemination, such as the Teatro Galán and the Festival Internacional de Danza En Pé de Pedra. Her latest creation, INLOCA, has just been debuted in a co-production with the Centro Dramático Nacional. Preceded by El diablo en la playa (The Devil on the Beach), INLOCA is included in the Trilogía de la Fragilidad (Fragility Trilogy), the third part of which will take place in 2023.

Ser tomada por granito (con Ursula K. Lee Guin). Gena Baamonde

This piece is located in spaces of vulnerability and questions what is understood as strength. It explores those spatio-temporal coordinates where the world seems to be a suspended lapse of time and bodies end up becoming an impassable stone wall for emotions.

Gena Baamonde.- Creator, director, researcher and performer with a long career on the contemporary stage. Interested in disciplinary bastardies and the sex-gender-sexualities triad. With a PhD in Fine Arts and a degree in Stage Direction, she is a member of the collective VACAburra together with Andrea Quintana, with whom she has debuted the pieces O Raro é que bailar sexa raroMetodoloxías carroñeras para corpos invertidos, Festina Lente and Extravíos. Among her latest works is the direction of Trilogía de Naxos for Brigitte Vasallo and Comando Comadres for Matrioshka Teatro, and she also participates in the playwriting for the dance company Elahood in their new show .

Sobre o baleiro. (About emptiness). Ana Abad de Larriva

“Sometimes I wonder about all that is left when there is nothing left. I want to empty myself and I spit noise. Blah, blah, blah. I want to fill myself with something and it overflows, because I am full of shit, of voices, of offers, of fears, of urgencies. I want to listen to myself and I hear the intermittent sound of the phone, of the engines, of the alerts. BOOM, BOOM, BOOM. Where is the tap for the drain to fill me with emptiness?

SOBRE O BALEIRO is a piece that delves into the overstimulation of the current era; into the (false) need to be permanently connected, seeking continuous experiences and opportunities. It’s a piece about emptying oneself of the noise that numbs us.

Ana Abad de Larriva.- Actress, performer and stage creator, with a degree in Dramatic Art specialising in Gestural Performance from the Escuela Superior de Arte Dramático de Galicia and a PhD in Communication from the University of Vigo. As a playwright, in 2019, she won the Roberto Vidal Bolaño Prize for playwriting with A sombra das árbores and, in 2021, the Microteatro de la Memoria Prize for Un biolo na noite. Her latest pieces that have been premiered or published include Na memoria da augaLamaNa sombra, unha árboreEn caixas and Romper o xeo, bailar a nada. Her creations, of a performative nature, are inspired by the arts of movement, music, nature and the feminine universe, with a critical and committed vision that is, at the same time, poetic and inspiring.

Data sheet

A Collective piece created specifically for 'Escenas do cambio 2022' by Helena Varela, Helen Bertels, Gena Baamonde, Ana Vallés and Ana Abad de Larriva.
Price: 9 €


Creation and performance: Helen Bertels
Photography: Miguel Vidal
Acknowledgements: A.P., technical team at the City of Culture complex.

Created by Ana Vallés in collaboration with Nuria Sotelo based on texts by María Zambrano.

Playwriting and direction: Gena Baamonde
Performers: Gena Baamonde and Andrea Quintana/ VACAburra

SOBRE O BALEIRO (About emptiness)
Creation and performance: Ana Abad de Larriva
Technical collaboration and photography: David Rhodes


World premiere
Escenas (Con)Textualizadas Saturday 7th May , 7pm City of Culture Travelling through the Gaiás Centre Museum | Meeting point at the museum entrance