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Our previous play was 

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Anos 90. Nacimos para ser estrelas
('The 90s. We Were Born to Be Stars'). 

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We worked with words, 
with poetic language, 


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with the creation of images, 
with our own worlds. 

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We worked a lot with
 words and music. 

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We realised there was a
generational component 

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we were very 
interested in. 

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We were interested in knowing 
exactly what defined our generation.

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So as to have the
feeling that all of us 

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were involved 
in something 

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and that 
there's something 

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that's worth living for, 

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that's worth fighting for 

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and that there are common 
things that shape all of us 

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who are in our twenties. 

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Apart from that, 

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there's something that 
has to do with poetry - 

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where do we find beauty, 

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what is youth, 

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what strength 
do we see in it 

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that you can't find later, 

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what things does 
that age give you, 

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what freshness does it 
give you to start out, 

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to build something solid 
that can't be built later.

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That's basically it.

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Our research is 
in that border 

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between life, 
reality and theatre. 

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We've been creating so much 
intimacy for some time now. 

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The word "intimacy" is the one
that best defines this work.

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Offering, sacrificing 
our privacy for others. 

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And inviting them
 to that place, 

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making them part of it, 

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of that room 
in that house 

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that we've always 
thought theatre to be. 

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The idea of theatre being a
house, a room, an assembly. 

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Something that can be 
interrupted at any moment, 

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where things can 
happen in real time.

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Actually, there are always
 things happening. 

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We play and rehearse
 the accident. 

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This play varies a lot
depending on the space. 

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There are many things that can
happen in one way or another, 

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there are many 
improvised texts. 

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Every time we do the piece 


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it's a different event. 

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That's important to us.

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Performing this play always 
makes us move forward in life, 

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There are some things we've 
always been talking about. 

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One of them is that learning
to do theatre in Spain 

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by seeing theatre is
very difficult because,

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apart from a number of 
very specific companies 

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and a few authors, 

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the theatre scene is, 

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,in general,

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not very interesting for us. 

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We're more interested 
in people from Spain 

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who work abroad than 


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in those who work here. 

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We saw many films at school 
[the Spanish drama school RESAD], 

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and there we used to work a lot on
the concept of creation through music. 

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References for all of us. 

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Oasis, Radiohead and 
others were sounding then,

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and we thought it was
important to put all

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that's in the air 
together through that.

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We met in 2004, 


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at RESAD in Madrid.

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Each one of us was in 
doing a different speciality 

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except for Celso and I, 

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who were studying dramaturgy. 

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The work project was to be together, 

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live together 

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and talk about everything. 

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And this, which may be nothing, 

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was everything for us,

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and there's no other way 
we can explain our beginning. 

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There's something that makes 
us understand each other

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and work together. 

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We made our first 
piece in 2006; 

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its name was 

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A velocidade do pai, a velocidade da nai
('The Speed of the Father, the Speed of the Mother').

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We premiered in RESAD. 

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All three of us 
performed in that play, 

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but we always
worked collectively 

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in the direction 
and the writing, 

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though Celso and I wrote 
the first two plays. 

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Finally, nobody was absent from the 
direction or writing of this piece. 

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That's why the concept of 
intimacy is so important,
 

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with no power games,

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without anyone looking 
and others obeying. 

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There's where everything or 
almost everything lies for us. 

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That's the end. 

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Actually, in our 
trajectory in theatre, 

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our peak was the 
creation of Anos 90;

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it was the piece that 
we took throughout Madrid 

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and Spain

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we did 50 performances.

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There were two monologues 


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that I think were 
very well built. 

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It was a very clear proposal,

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as it was much of a manifest 

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and had been made having
 audiences from outside in mind.