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“An intelligent discovery that causes continuous funniness”.

Justo Barranco, La Vanguardia

It Don’t Worry Me (No me preocupa) is a collaboration between the Catalan company ATRESBANDES and the duo formed by Bertrand Lesca and Nasi Voutsas. Together they question the tensions between art, political correctness and what we consider offensive. To this end, the creators have created a device in which two commentators comment on a play which is nothing but they themselves commenting on it. The world premiere of the show took place on 16 January 2020 at the Teatre Lliure in Barcelona.

Practical information

• Teatros del Canal Sala Negra
• 24 and 25 November at 19:00

Full information on the show Ticket sales

What the critics have said...

• “They met at the Edinburgh Fringe festival, where both companies are regular participants and they liked each other. They were a match, they say. And at a dinner in one of those student flats where artists spend the festival days in groups, they discovered that the limits of political correctness were very different in their countries: if in Barcelona it can be common "to go shopping to a Paki shop", in the United Kingdom such an expression would sound heretical, racist, whether or not it is Pakistanis who run the shop. The two companies in Edinburgh were Atresbandes, from Barcelona - Monica Almirall, Miquel Segovia and Albert Pérez Hidalgo - and the duo formed by Bertrand Lesca, from France and Nasi Voutsas, from Britain, and they decided that there was a play there: they wanted to explore the tension between political correctness and the freedom needed by an artist. The result, which they have been cooking up in rehearsals in Madrid, London and Barcelona, is called It Don't Worry Me -the song that closes Robert Altman's Nashville- and was premiered last night to great acclaim at the Teatre Lliure on Montjuïc, where it will be playing until Sunday.
  
  Perhaps the applause was loud because the audience did not stop laughing at the insolence and the little provocations, including, of course, the fact that a British character dares to address the most politically incorrect topic in Catalonia today -independence- and defends that, unlike the United Kingdom and Europe, this Spain of beers and tapas that he adores remains united. But, above all, they laughed at the very particular structure of the work. An intelligent discovery that causes continuous funniness. Initially, the Espai Lliure's stage is empty and only the voices of two commentators resound, explaining what they see on stage. And they warn that the play is coming. The surprise is huge when the actors who appear are the same commentators with two microphones and continue to talk about themselves as if they were seeing themselves from the outside, as if they were still broadcasting the play.
  
  They explain every gesture they make as if it were a football match and the laughter is continuous. Above all, because what they do is laugh at contemporary theatre, explaining to the audience what each movement, each light, each step they take means, maybe or only in their crazy imagination. The final conclusion of what they see - of course, sexual, as when Quentin Tarantino in the film Sleep With Me analyses Tom Cruise's Top Gun and determines that it is clearly a gay film - is outlandish, but the play goes further and messes with current theatre that takes real protagonists and, above all, dares to even have that totem that is so difficult to bring on stage, which is bad taste. And all of that narrated with a very good pulse and closed with an applause that needed no explanation ”. Justo Barranco, La Vanguardia