Our previous play was
Anos 90. Nacimos para ser estrelas ('The 90s. We Were Born to Be Stars').
We worked with words, with poetic language,
with the creation of images, with our own worlds.
We worked a lot with words and music.
We realised there was a generational component
we were very interested in.
We were interested in knowing exactly what defined our generation.
So as to have the feeling that all of us
were involved in something
and that there's something
that's worth living for,
that's worth fighting for
and that there are common things that shape all of us
who are in our twenties.
Apart from that,
there's something that has to do with poetry -
where do we find beauty,
what is youth,
what strength do we see in it
that you can't find later,
what things does that age give you,
what freshness does it give you to start out,
to build something solid that can't be built later.
That's basically it.
Our research is in that border
between life, reality and theatre.
We've been creating so much intimacy for some time now.
The word "intimacy" is the one that best defines this work.
Offering, sacrificing our privacy for others.
And inviting them to that place,
making them part of it,
of that room in that house
that we've always thought theatre to be.
The idea of theatre being a house, a room, an assembly.
Something that can be interrupted at any moment,
where things can happen in real time.
Actually, there are always things happening.
We play and rehearse the accident.
This play varies a lot depending on the space.
There are many things that can happen in one way or another,
there are many improvised texts.
Every time we do the piece
it's a different event.
That's important to us.
Performing this play always makes us move forward in life,
There are some things we've always been talking about.
One of them is that learning to do theatre in Spain
by seeing theatre is very difficult because,
apart from a number of very specific companies
and a few authors,
the theatre scene is,
,in general,
not very interesting for us.
We're more interested in people from Spain
who work abroad than
in those who work here.
We saw many films at school [the Spanish drama school RESAD],
and there we used to work a lot on the concept of creation through music.
References for all of us.
Oasis, Radiohead and others were sounding then,
and we thought it was important to put all
that's in the air together through that.
We met in 2004,
at RESAD in Madrid.
Each one of us was in doing a different speciality
except for Celso and I,
who were studying dramaturgy.
The work project was to be together,
live together
and talk about everything.
And this, which may be nothing,
was everything for us,
and there's no other way we can explain our beginning.
There's something that makes us understand each other
and work together.
We made our first piece in 2006;
its name was
A velocidade do pai, a velocidade da nai ('The Speed of the Father, the Speed of the Mother').
We premiered in RESAD.
All three of us performed in that play,
but we always worked collectively
in the direction and the writing,
though Celso and I wrote the first two plays.
Finally, nobody was absent from the direction or writing of this piece.
That's why the concept of intimacy is so important,
with no power games,
without anyone looking and others obeying.
There's where everything or almost everything lies for us.
That's the end.
Actually, in our trajectory in theatre,
our peak was the creation of Anos 90;
it was the piece that we took throughout Madrid
and Spain
we did 50 performances.
There were two monologues
that I think were very well built.
It was a very clear proposal,
as it was much of a manifest
and had been made having audiences from outside in mind.