40 for the 40th Autumn Festival
When preparing these lines, I fortuitously happened upon a poem by the Ukrainian poet Adam Zagajewski in which he repeatedly calls on us to “try to praise the mutilated world”. I have been unable to forget that line ever since, so I have decided to bring it here, because I believe its discovery was no accident but a kind of revelation of the meaning of our trade and also of the importance of a festival of the performing arts in these uncertain times. From the stage, we try to praise our mutilated and fragile world, and also celebrate its persistence, its desire for joy and the attempt to stay together, one and the other, even with and despite everything going on around us.
This year, our beloved Region of Madrid Autumn Festival celebrates its 40th edition. It is an honour for me, and for all to the team, to present the programme for such a special edition and we would like to take this opportunity to thank you for the support you have shown us over these years.
To mark the 40th anniversary of the Festival, we present an “expanded” edition, in both the number and diversity of productions and their origin (from 18 countries), and the venues used (31 spaces of the regional, national and municipal administrations throughout the region). The programme includes a dozen Spanish premières and some twenty Madrid premières and is the edition with the most extensive programme across the different municipalities of Madrid (13).
It is a programme that pays tribute to the history of the Festival itself with the presence of some of its most celebrated “historic” creators alongside some of the new names representing the present and future of our Festival. I don’t want to highlight here any production or company because each and every one of the creators that form part of this edition make up a constellation that is as heterogeneous as it is unique. Over the three weeks of the Festival we will witness an endless melting pot of poetics, languages, expressions and origins. It is the sum of this diversity that makes the Autumn Festival so unique.
Once again, we would like to thank all the venues and organisations that have collaborated with us one way or another, and all the collaborating public bodies, institutions, partners, embassies, centres and friends of the Festival. On behalf of the Artistic Direction, I thank the whole Festival team for their commitment and enthusiasm.
We trust you will enjoy the 40 productions we present to make our 40th anniversary. Enjoy the festival and here’s to many more years!
He has a Stage Direction and Playwriting Degree on the RESAD (Real Escuela Superior de Arte Dramático) and a PhD in the Madrid Complutense University.
From his dramatic production career, we highlight: El mar: visión de unos niños que no lo han visto nunca (2022); La geometría del trigo, National Dramatic Literature Award (2019); Los días de la nieve (2017), Lorca Award in the category of Best Author (2019); Todas las noches de un día, winner of the III Theatrical Texts Competition from the AAT (2018); La piedra oscura (2015), Max Award in the category of Best Dramatic Author and Ceres Award 2016; Ushuaia, Ricardo López de Aranda Award 2013; ¿Cómo puedo no ser Montgomery Clift?, winner of the LAM Contest 2010; Húngaros, National University Theatre Award in 2000; and Fiebre, National Short Theater Award 1999.
He has also intervened in some adaptations and rewritings: Medea (Teatre Lliure); Electra (Ballet Nacional de España and Teatro de la Zarzuela, 2017); Fuenteovejuna (Compañía Nacional de Teatro Clásico, 2017); Troyanas (Festival de Teatro Clásico de Mérida, 2017); Rinconete y Cortadillo (Sexpeare Teatro, 2016); Amor de don Perlimplín con Belisa en su jardín (Festival de Otoño a Primavera / Metatarso, 2016); Proyecto Homero / Odisea (La Joven Compañía, 2016); among others.
In february 2020, he published En esta casa, his second poem collection, after Si descubres un incendio, written in 2017.
La geometría del trigo
¿Cómo puedo no ser Montgomery Clift?
La piedra oscura
Todas las noches de un día
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