Roger Bernat’s theatre is a collective laboratory that records the utopian aspirations and authoritarian fantasies of a community. The spectator ceases to be a witness and becomes an actor in a drama where they renounce being just a victim to accept the risk of acting.

His best-known shows are Domini Públic (Teatre Lliure, 2008), La consagració de la primavera (Teatro Milagro, Mexico, 2010), Please, Continue: Hamlet (Théâtre Grutli, Ginebra, 2011), Pendent de votació (CDN, Madrid , 2012), Desplazamiento del Palacio de La Moneda (STML, Santiago de Chile, 2014), Numax-Fagor-plus (KunstenFestivalDesArts, Bruselas, 2014), No se registran conversaciones de interés (MUCEM, Marsella, 2016-17), The place of the Thing (Athens-Kassel, Documenta 14, 2017), FLAM (Teatre Lliure, 2019), ENA (Teatre Lliure, Barcelona, 2020), PIM-PAM (34 Bienal São Paulo, 2021) and Desnonissea (Centre d’ Art Santa Mónica, Barcelona, 2021). These shows have been represented in more than 30 countries.

(Barcelona, 1976) is a poet and has published L’acròbata tampoc no en sortirà il-lès (Premi Amadeu Oller 2000 and Premi Literari Memorial Anna Dodas), Quantes mentides fan una sola veritat (Premi Josep M. López-Picó) and Deix no diretório (2011). Núria is part of the Cataclístics group and acts as part of Nicomedes Mendes.

Born in Sant Pol de Mar, he writes improvised poetry without thinking. He has beacons like Maragall’s living word or Cage’s new happy ears. He wrote El paller (Vienna, 2018), a collection of poems resulting from transcriptions of different recorded improvisations, or Llumeneres (Documents, Documenta, 2021), an apology for singing and parties.