She knows that the theatrical context is “very hard for someone just starting out”, but Lucia del Greco is optimistic. She also knows that she has been “lucky” and “very determined.” And it is that last season premiered The design of the color, by Caryl Churchill, in the Tantarantana, and everything began to go up. To the point that it has already gone to medium format, in the Sala de Baix de la Beckett (with 250 spectators), with a work by David Plana, The enchanted, who has taken to his land as an irreducible fan of Romeo Castellucci and someone who believes that, on stage, the text “has the same weight as light, space and sound”. “I understand theater as a place where stage languages have to be put at the same level”, he adds.
The design of the color it left us speechless. Where did she come from, that young director who had thought of the staging as a third-party workshop from the Theater Institute, which had professional actors who enrolled in her proposal for “pure love of theater”? From someone who had not even finished studying (he still has a writing subject and the Final Degree Project left) and who demonstrated an unusual talent? Some of her teachers, like the playwright and director Jordi Prat i Coll, spoke wonders.
‘El desig del cor’, by Caryl Churchill, which Del Greco directed in 2022 at Sala Becket
In The enchanted, part of his team is less than thirty years old, but he also has Cube.bz, perhaps the best, in lighting. “David Plana’s text has a point of mystery that leaves many things open and we have gotten hooked there,” says Lucia Del Greco, who acknowledges that there have been “artistic discrepancies” with the author, which she sees as normal, “because we are from two different generations.
Tantarantana, Antic Teatre or the Beckett offer opportunities to make the generational change
The director and playwright of Italian origin gave up her doctorate in Purchased Literature at Oxford to study theater in Barcelona. During the time that she worked in a bookstore in the city, while waiting to be accepted at the prestigious English university, she was surprised by the “cultural fervor” of Barcelona and, when she became disenchanted with Oxford, she packed her bags and headed for Catalonia. . She was afraid to do it in Rome. And we already tell you that her Catalan is enviable.
Del Greco is part of a fifth, which is in its twenties, which is occupying local theaters in Barcelona, with highly talented authors and directors, among whom we must highlight the most veteran of all, Oriol Pla, who turns thirty in April and who last Christmas demonstrated again, with Travy, who is five steps ahead of everyone else. In parallel, José and his sisters (Gemma Polo, Alejandro Curiel, Marta Díez, Carolina Manero and Glòria Ribera) have a couple of productions at the Lliure. In his thirties, Pablo Macho Otero (La Bella Otero) premieres this March George Kaplan, by Frédéric Sontag, in Tantarantana. And we also have Roger Torns and Oriol Morales, directors and playwrights.
The theater director Lucia del Greco
Below, Las Huecas (Júlia Barbany, Esmeralda Colette, Núria Corominas, Andrea Pellejero and Sofía Ana Martori) and Monte Isla (Andrea Pellejero, Adrià and Rut Girona) are causing a sensation. Even younger, Oriol Puig scored a full-chested C with Karaoke Elusia who, after receiving praise at the Beckett in 2020, has already stayed at the National Drama Center in Madrid. Berta Prieto and Lola Rosales, born at the end of the last century, premiere at the Beckett in April Right to tantrum The most trepidant mission of the Espies de Veritat. And let’s not forget the Mallorcan Miquel Mas Fiol, who in May will Young Werther’s penises in the Tantarantana.
The new ones request passage in the great public theaters. They have come to break the mold and question many things
Antic Teatre, Sala Beckett and Tantarantana are betting heavily on young people. The three theaters, from dramaturgically different points of view, are offering opportunities for the generational change to occur naturally. Las Chatis de Montalbán (Prieto and Rosales), for example, are a resident company of Beckett. In turn, the project to support young companies El Cicló del Tantarantana has been key to the development of troupes such as Produït per HIIIT (Roger Torns), La Pulpe Teatro or El Eje. We also have to mention the DespertaLab grant from the Nau Ivanow and the Sala Atrium, awarded to people under thirty-five years of age. Right now it is enjoyed by AMAGA Produccions, who a few months ago brought There that he has after the diumenge a la Beckett.
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Del Greco, Torns and Las Huecas ask for passage in the big public theaters. They have arrived to break the mold and to question many things. The director of Italian origin already has projects for next year. She hasn’t premiered in the country where she was born, yet, but she is already in contact with the avant-garde company Ricci Forte, who she will see at this summer’s Venice Biennale. “I believe in an international theater and I would like to be able to work in Italy,” she says. She’ll get it!
