We want to tell stories that are the fruit of emotional torrents that take us to areas of reflection and revealing expression.
The young company began its journey in 2018 with “Chocando contra árboles sagrados“, where they dealt with the situation of sub-Saharan immigrants in the Western world.
The author and director of both plays, Juan Montoro Lara, has a long career as a playwright, having had several of his plays premiered by different companies.
Meanwhile, in 2012 he created the Laboratorio Escénico Los Menos, with the performer Érika Trejo and the director Joaquín Lisón, with which they presented two works, “Oluz/ Zulo” and “El sudor del signo“.
The theatre is that sacred and poetic place that sets up the most barriers to the superficial and yellowish treatment of any subject that deeply touches the human soul.
Emilia is an elite athlete, she competes at the highest level, sometimes she wins, sometimes she loses. With her father’s suicide, it is revealed to her that her adversary is someone else, a very well-trained rival, but not flesh and blood. His life is faltering, he has become as vulnerable as the high jump bar, the discipline to which he is dedicated. She feels that her identity, her personality, the imprint with which she treads the world, the attitude with which she relates to society and to herself is being forged in the battle against an invisible adversary.
Whoever approaches a group that has been alien to him or her until then has to give up part of his or her identity in order to be accepted. A feeling of betrayal begins to tingle in the stomach and coexists with the feeling of conquest, duality, split identity. But how big is this statement when it comes to changing culture, continent, hemisphere; when it comes to migrating from impoverished Africa with a baggage of colonisation and slavery to Old Europe?