Celestina Brochure - ATALAYA-TNT

CELESTINA,
LA TRAGICOMEDIA
ATALAYA
WINNERS
OF THE
NATIONAL
PRIZE
FOR THEATRE
2008
Cast and Crew
Celestina………………………Carmen Gallardo
Elicia………………………………..Lidia Mauduit
Calisto………………………… Raúl Vera
Sosia……………………………….Jerónimo Arenal
Melibea……………………… Silvia Garzón
Centurio…………………………….Manuel Asensio
Sempronio…………………… Manuel Asensio
Tristán……………………………....María Sanz
Pármeno……………………… Jerónimo Arenal
Pleberio…………………………….Raúl Vera
Areusa………………………… María Sanz
Lucrecia…………………………….Lidia Mauduit
Choir and Voice Coach
Esperanza Abad
Music
Luis Navarro y temas populares de Europa del Este y Balcanes
Staging
Ricardo Iniesta
Choreography
Actores de Atalaya
Wardrobe
Carmen Giles
Set design
RAS Artesanos
Hair and Makeup
Manolo Cortés
Photography
Luis Lillo
Music (Recording and Editing)
Emilio Morales
Technical Coordinator
Alejandro Conesa
Sound Technician
Emilio Morales
Lighting Technician
Alejandro Conesa
Accounts
Rocío de los Reyes
Production and Distribution
Masé Moreno
Production and Communication
Patricia Aguilera
Advertising and Publicity
Elena Gordillo
Translation
Joanna Ward
Assistant Director
Sario Téllez
Director, Dramatisation
Ricardo Iniesta
Approx. Duration: 1 hour 45 minutes
A UNIQUE PIECE OF LITERATURE
La Celestina was written during the reign of the Catholic Monarchs of Spain at a time of great historical change as the Middle
Ages gave way to the Renaissance period, bringing with it immense political, social and economic shifts. This literary work
marked the beginning of the Siglo de Oro – the Golden Age of Spanish literature and, more specifically, the birth of the
tragicomédia (tragicomedy) – a distinctive literary form that bore
several important additions to the original comédia genre, and which
began to be published at the start of the 16th century.
La Celestina is one of the most important works of literature ever to be
written in Spanish, second only to Cervantes´ Don Quijote, and as
such marks a pinnacle of Spanish theatre. It´s influence, as much in
European theatre as in the Spanish literary scene, was notable.
“Never before had character, action, time and place been portrayed
with such determinedly faithful accuracy to real life as in the
tragicomédia. However, at the same time Rojas refuses to merely
copy the everyday or the ordinary and looks for artistically enriched
verisimilitude, mastering the use of a distinctive stylistic device in
multiple registers.”1
1
Francisco Rico. La Celestina o el triunfo de la literatura
The themes dealt with and a great deal of the novel´s structure remain fiercely relevant to the modern day viewer. “It
possesses a fundamentally modern character: love of new technology and innovation, the importance attributed to money
and wealth and to new social relationships, and an environment that was ideologically unheard of in its time” 2 To this list we
can also add the tremendous modernity of the character Melibea – rebellious, disobedient and perceptive, victim of an all
consuming
passion
extremely
far
removed
from
the
conventions of courtly love or the proper, rigid traditions of the
feudal and bourgeois systems. Melibea rejects the need for a
husband or guardian and chooses to control her own destiny,
which she meticulously plans to the very last detail; her
eventual suicide. A figure that for centuries they have loved to
dress up in sickly-sweet naivity and a lack of any real
personality (qualities which far better suited the conservative
vision of all that a woman should be) now forms part of the
hall of fame of unforgettable female characters of Spanish
literature.
Another extremely contemporary feature of the play is its
treatment of religion. At the time, the medieval vision of a world order created by God had already been broken with, but the
requirement that religion be included as a theme in all forms of artistic expression (as was the case during the Siglo de Oro)
had yet to be implemented. Religion is challenged and rejected in the play. The characters lack any comprehension of the
notion of sin, instead maintaining a skeptical belief in fate and fortune as determiners of destiny. No god judges the
2
Joseph Pérez. La modernidad de La Celestina
consequences of the character´s actions, no god listens to Melibea´s last wishes nor Pleberio´s curses; two monologues that
posses all the strength of a Greek tragedy and all the contemporary essence of a Heiner Müller. La Celestina represents a
moment of freedom, of laicism, of great historical change and transformation in which the characters dedicate themselves to
living only for the moment, for the here and now. Because of this, over the years La Celestina found itself denounced by the
Spanish Inquisition and branded ´atheistic, nihilistic and materialistic´ by the Franco regime.
That the characters appear dominated by the present, by the daily rush and impatience for life and for living intensely and
determinedly in the moment is what makes the play so relevant to a modern day audience. The characters all face constant
dilemmas and dangerous crossroads which transmit to the spectator a constant dramatical tension and element of surprise.
Seven major conflicts are examined, all of which are very diverse and serve to add to the richness and value of this
incomparable piece of Spanish literature.
A GALLERY OF FASCINATING AND HUMAN CHARACTERS
“The total absence of any ethical ideal in the character of Calixto, and the palpable hatred of the serving classes towards
their masters draw the attention of the audience”.3 So too does the artistic affection that the author lavishes on his minor
characters – as much if not more as he awards to his
major ones. It is nearly impossible to find a work of
literature in which practically all of the characters are
as well defined and created with such attention to detail
as this.
As one of the key female characters in worldwide
literature and undoubtedly the most important to
emerge from Spain, much has been written about
Celestina herself. However, another remarkable aspect
is the decisive way in which she feeds the class
struggle, at the same time that she defends the pact
among the marginalized – as much for reasons of friendship as a means to better protect herself from those with power.
Although in the end her only rule of conduct is self interest, it is in keeping with the exaltation of individualism in the novel.
This does not make her character damned, rather an appealing one, and her death provokes sorrow in the reader.
3
Joseph Pérez. La modernidad de La Celestina
As Julio Rodríguez Puértolas asserts,4 we are dealing with a literary
text full of the intensity of life, because it examines the idea of man
as inseparable from his situation and the social conditioning of the
environment in which he finds himself. It warns of the perils of such
ferocious individualism which, in the time Rojas was writing,
constituted a revolutionary phenomenon that challenged the
established feudal system, but which is now seen as the biggest
threat to the collective survival of the human race. Above all this
hovers the spectre of what most concerns the characters and
indeed what most motivates our own modern day societies: money.
The degradation prompted by an obsession with money in the play
is palpable and it is presented as the product of this pervasive self
interest and individualism. This individualism, as opposed to
collectivism, is what awakens an exaggerated and negative form of
freedom which in turn facilitates the progressive destruction of the
planet. The overimportance placed on money results in the
objectification and commercialisation of all aspects of culture and
society, incluiding that of human beings themselves.
Even Metibea´s father appears more concerned by the sudden lack
of anyone to whom to leave his inheritance than by the death of his
4
Julio Rodríguez Puértolas. La Celestina, estudio preliminar
own daughter. Every attempt at friendship, solidarity and communication fails miserably in the face of the power of money
and class struggle. “The novel focuses on the uneven distribution of wealth; everything that is desireble in life – not just
material wellbeing but contentment, happiness and beauty – are rights determined by the possession of wealth, whilst
conversely poverty ensures both moral and physical indignity. Such is the depth of resentment felt by the dispossessed
towards the wealthy”5.
La Celestina oozes eroticism and sexuality. As Juan Goytisolo says, “there are times when sexuality becomes the only
element that preserves the individual from being objectified and reaffirms an awareness of their own indivuidual existence”6.
In this way, according to Puértolas, it deals with a frontal attack on the central tenets of bourgeois or feudal morality, where
the sexual was not considered naturally, but along the patterns of the established social order. Explicit verbal and physical
sexuality functions in La Celestina as a social equaliser, as a subversive act. So too is the mocking treatment that honour
receives in the play – which can be seen in the parody of Centurio – as the antithesis of the usual Golden Age texts.
But above all else, La Celestina “offers something for everyone. Some will enjoy the intrigue and depth of the characters,
others will enjoy the pitoresque scenes and humorous features and there will be those who most appreciate the subtleties of
the dramatic construction, the wordplay of the dialogue, the spirit of the soliloquies or the agility of the asides. This diversity
of readings illustrates the richness of the tragicomedia genre”7.
5
José Antonio Maravall. El mundo social de La Celestina
Juan Goytisolo. La España de La Celestina
7
Francisco Rico. La Celestina o el triunfo de la literatura
6
MAKING THE TEXT OUR OWN
Notes From the Director
I first read La Celestina during my adolescence, back when finding a
work as sexually and erotically charged as Fernando de Rojas´ in
any bookshop, newsstand, cinema or theatre (never mind the single
state television channel) was completely impossible. Somewhat
incomprehensibly the regime didn´t censor the edition until the end of
the Franco dictatorship… but if the text remains etched indelibly in
my mind it is not solely due to the content of the narrative, rather it is
due to the manner of the text´s narration. Forty years later, after having staged Greek tragedies, the works of Shakespeare,
Lorca, Valle-Inclán, Brecht, Müller, Maikovski and various contemporary authors, I can safely say that the richness of the
imagery contained within Rojas´text is what makes it unique amongst all the dramatic literature from any period.
The first task of this text turned out to be the exact opposite of process of my adaptation nearly twenty years ago of
Hamletsmaschine, in which Heiner Müller condenses little over 2,000 words into his text. In La Celestina I was forced to
reduce 65,000 words to just over 10,000. If in the German´s work what emerges is only the tip of the iceberg and the person
who brings it to stage is required to uncover the hidden, underlying content, in Rojas´work the reverse is true; it is as if you
have to find the essence of the text, the marrow, the spinal cord that is protected/hidden by the skin and the bones in order
to bring to the stage a text that, in its entirety would take nearly ten hours to perform.
With Richard III I had already undertaken a similar challenge of reducing the original text to roughly a third of its initial size,
with the added difficulties of language and, particularly, verse. On this
occasion it was much simpler. It must be borne in mind that this was a
text designed to be read because at that time there were no theatres in
Europe. In bringing it to the stage you realise that large sections lack any
actual dramatic action. However, the essence of the work contains a
vertiginous rhythm, despite not being written in verse, and an intense,
nuanced dramatic force.
At Atalaya we combined 4 different languages together with the author´s
style. La Celestina bears a clear relationship with the grotesque theatre of
cruelty that we staged in Divinas Palabras, our most prolific production,
which became the very first by Valle-Inclán to visit China. Certainly the
Galician author took more than a pinch of inspiration from Rojas´ style of
language. But our vision of La Celestina also references the disturbing
expressionism of Artaud´s theatre of cruelty, which was also an explicit
influence in Grotowski and Kantor, our other productions. It is the actors who will breathe life into these languages through
the particularly intense energy that this play requires of them.
During the early stages of dress rehearsals we felt as if La Celestina had been written specifically for our own concept of
theatre. Of all the versions of the work that I have been able to witness both on screen and on stage, I can only remember
one that really gripped me: that by Angel Facio in the early 80s. The elements of physical risk and cruelty were evident in
this version instead of the ´papier mâché´ of so many other versions. La Celestina is a universal work of theatre, like Greek
tragedy, but at the same time both carnal and humorous.
One of the conclusions we have drawn from the creative process
– which exceeded the 120 dress rehearsals of Richard III – is the
need for the actors to be on stage during the vast majority of the
play, manipulating stage elements or interpreting the numerous
choruses that lend richness to the atmosphere that the play
requires. The prestigious soprano Esperanza Abad directs some
of the most ambitious and rich choral work that Atalaya has ever
put on since starting its stage and teaching collaboration in 1988.
The actor’s journey through this training period has prepared them
to make the qualitative jump to CELESTINA. The sonorous world
of the play refers us to the mystery, disturbance and magic of
Slavic and Balkan cantiles with Galician undertones that transport
us through time, at moments creating a dream-like atmosphere.
What most excited me about adapting the work for the stage was the opportunity to work again with the most charismatic
actress at Atalaya and, according to the critics, one of the most highly regarded figures on the Andalusian theatre scene,
Carmen Gallardo, who had remained outside of the group for over fifteen years. Just over a quarter of a century ago she
was voted best new-coming actress of the year in Madrid for her work in Así que pasen 5 años. Over the next 25 years
Carmen has acquired the maturity and stage strength to transform herself into the role of the most fascinating character in
Spanish theatre.
CRITICAL ACCLAIM
Así que pasen cinco años
Federico García Lorca. 1986-87
“Excellent, lucid and well staged, dealing sensitively and intelligently with a difficult text” – Cinco Dias.
“An excellent work. One of the best” – Levante.
La rebelión de los objetos
Maiakovski. 1988-89
“To combine within the same production the poetry of Maiakovski and the theory of Meyerhold requires both applause and a
broad degree of trust. A remarkable theatrical experience” – El Independiente (Madrid).
“Magnificent exploration of dramatic techniques. A pure delight. Everything comes together with sensuality, brilliance and
resounding beauty. A stand against the stagnation of theatre” – El Dia (Saragoza).
Hamlet-Máquina
Heiner Müller. 1990-91
“Physical theatre at its finest. Don’t miss it!” – The Guardian (London).
“Not since Richard Foremen´s latest show in New York have we seen anything comparable” – Newsletter.
“The outcome is exceptionally dynamic. Pure enjoyment” La Republica (Italy).
Espejismos
1991
“A stunning and impressive piece of theatre, full of beautiful imagery” Glasgow Herald.
“A beautiful production staged with great precision. A splendid piece of theatre. Splendid and unsettling” Deia (Bilbao).
Descripción de un cuadro
Heiner Müller. 1992-1995
“Marvelous production” – Irish News (Belfast)
“A marvelous work. A theatrical experience that draws you in and leaves you puzzled” – The Age (Melbourne)
“Atalaya were easily the best at the festival. The premiere made a huge impression” - Telam (Festival de Londrina Brasil).
“A robust and precise performance by the actors combined with creativity and imagination from the director” - Granma
(Cuba).
La oreja izquierdo de Van Gogh
Antonio Alamo. 1993-94
“A show that must be experienced with your senses in order to let yourself be carried along on a current of beautiful imagery.
A scenic offering of surprising beauty” - El diario vasco.
Así que pasen cinco años
Second version. 1994-96
“Impressive piece of staging in every theatrical aspect: direction, wardrobe, lighting and scenery” - Diario de navarra.
Elektra
Esquilo, Sófocles, Hoffmansthal, Heiner Múller. 1996-2004
“An exquisite work from its interpretation to its staging; unpredictable and beautiful from start to finish. A true gem of theatre”
– La Mañana (Festival Mercosur. Argentina).
“A fascinating piece. Impressive scenery. Its performance justifies it having been announced as a theatrical sensation” –
Dubrovacki (LIII Festival International of Dubrovnik. Croatia).
“A moving play full of style and energy. By the end the piece gives you the sensation of having seen the past and also the
future” – Helsingin Sanomat (Tampere Festival. Finland).
“One of the most comprehensive shows in recent theatrical history. True theatre.” – Egin.
Divinas Palabras
Valle-Inclán 1998-2004/2009-11
“An example of creativity, elegance and artistic maturity. It exceptionally illustrates how to portray a classic from a
contemporary standpoint. A perfect performance. Magnificent cast, 9 actors that have the power of at least 90. A real
celebration of the magic of theatre and the power of words” – New Herald (XXV Festival of Miami).
“Atalaya surprised with an impeccable performance of a work by Valle-Inclán. Magnificent staging and masterly direction” –
Noticias de oriente XXXV Festival de Oriente (Venezuela).
“A splendid performance full of creativity and imagination, framed by fast rhythms and expressive scenes capable of startling
the spectator” – El Periodico de Cataluña.
Exiliadas (Cantanta para un Siglo)
Borja Ortiz de Gondra 2000-04
“A phenomenal performance from the actors. A robust staging” – La voz del interior (Festival Mercosur. Argentina).
“Atalaya made an impact. Magnificent chorus. Outstanding staging area. Epic, inspiring and electrifying actors who give the
play life and seduction while captivating the audience” – El ideal Gallego (A Coruña).
“The best show of the 2003 festival and one of the best of the 26 versions of FITEI” – Jornal de noticias (FITEI, Porto).
El Público
Federico García Lorca 2002-05
“A brilliant performance that must be seen more than once. Atalaya´s strengths and resources are numerous and adept” – El
Pais
“Atalaya, one of Spain´s most innovative and powerful theatre companies, have presented us with a hugely creative piece of
theatre”- Levante (Valencia).
“An interesting text and a wealth of scenery, lighting, wardrobe, music and choreography with excellent direction. A true
spectacle!” – Noticias de Galicia (Pontevedra).
Medea (la extranjera)
Eurípides, Séneca, Heiner Müller and other writers. 2004-09
“A masterly and comprehensive performance. The viewer leaves the show feeling moved” – Kurier (Vienna).
“A wonderful performance, broad, perfectly designed and measured. Every care has been taken over even the smallest
details” – El mundo.
“A comprehensive show. A style that lends a contemporary view to a classic piece and, above all, that leaves an impression”
– El Universo. Guayaquil (Ecuador).
La Opera de 3 Centavos
Bertolt Brecht. 2006-09
“A fantastic staging. The musical actors deliver a sound performance and know how to transmit the fascination of a critical
and satirical text directed towards capitalism. They moved the entire audience with their sensational end result. A masterly
work of theatre that must be seen” – Diari de Tarragona.
“The direction of the actor´s is irreproachable and their performance immeasurable. 5 minutes of tumultuous applause from a
spellbound audience that filled the auditorium” – ABC.
“The impressive interpretation is the best part of this undeniable show of excellent musical theatre. An excellent show. A
luxury to which we are not accustomed” – Diario de Sevilla.
Ariadna
Carlos Iniesta. 2008-10
“Atalaya produced an exceptional standard of Greek tragedy at the Frynichos theatre, which had the honour of hosting their
interpretation of Ariadne. The audience were left satisfied by the magical setting and impressive lighting and the scene of
Dionysus was magnificent” – Festival de Delfos, Greece.
“It highlights the modernity of staging, the magical atmosphere and the intensity of their performance. So intense that you
can hear the actors´ blood pulsing” – Kronen, Vienna.
“The audience kept perfectly still in their seats for 80 minutes as if listening to a fairy tale. It made an unforgettable
impression, managing to capture the audience´s attention through an extraordinary performance, magnificently executed, in
which love, strife, tenderness, passion, betrayal and pain go beyond words and pass from the stage directly to the soul of the
spectator” – Contras. Man.In.Fest (Romania).
Ricardo III
Shakespeare. 2010“Extraordinary staging. The characters are incredibly well designed. Exceptional lighting and careful costume. Creativity is
the spine of this production. A wonderful and elegant ending which you would expect from such a great work and a great
theatre company” – La voz de Galicia.
“The director has managed to capture the essence of this cruel story, maintaining a powerful, well structured vision with an
impressive and forceful rhythm. It produces a tremendous climax in which the 9 actors give absolutely everything to their
performances” – Diario de Valladolid.
“Atalaya has not only produced its most convincing and comprehensive performance to date, it has also produced a
milestone in recent Spanish theatre. Wise theatre at its finest” – Malaga Hoy.
INTERNATIONAL FESTIVALS
2014/16
Festival de Sarajevo (Bosnia)
Festival de Setúbal (Portugal)
Festival Don Quijote (París)
GREC de Barcelona
Teatro de la Compañía Nacional de Clásico. Madrid
Temporada Centro Dramático Nacional. Madrid
XXX FIT de Cádiz
XI FEST. Sevilla
Festival de Badajoz
Clásicos de Alcalá. Madrid
Feria Internacional de Huesca
Temporada en Teatro Español. Madrid
2012/13
FIT de Cádiz
UIMP. Santander
XXVII Feria Internacional de Huesca
VII Festival de Formosa (Argentina)
Festival de Santiago de Chile.
Auditorio Manuel de Falla. Asunción (Paraguay)
Clásicos en Alcalá.
Festival de Teatro Clásico de Almagro
VII MITIN. Sevilla
Festival de Teatro Clásico de Olmedo
Festival Internacional de Badajoz
Muestra Internacional de Santander
2011
Teatro Nacional de Taipei (Taiwan)
Beijín Finge Festival (China)
Festival Internacional de Teatro de Puerto Rico
Festival Internacional de Teatro de Cazorla
2010
XXV Festival de Teatro Hispano de Miami
XXXV Festival Internacional de Oriente (Venezuela)
XXI Festival de teatro Clásico de Cáceres.
Festival Clásicos en Alcalá
Festival de Teatro Clásico en la Villa del Caballero. Olmedo Clásico
XXVI Mostra Internacional de Ribadavia
Festival de Teatro y Danza Castillo de Niebla
Festival d´estiu Sagunt a Escena
Festival de Teatro Clásico de Alcántara
XV Festival Madrid Sur
III MITIN Sevilla
FIT Cádiz
2009
Ancient Drama Festival Delphi (Greece)
Moita (Portugal)
FITEI de Oporto (Portugal)
MITIN Sevilla
Festival UCSUR de Lima (Peru)
Festival Internacional de Teatro de Orense
Temporada en Teatro Bellas Artes, Madrid
Festival Internacional de Teatro Clasico de Clunia
Mostra Internacional de Ribadavia
2008
Art Carnuntum Festival. Viena (Austria)
Festival Madrid Sur
Festival Lazarillo
FIT de Cádiz
Man In Fest (Romania)
Festival Internacional de Portaferrada (Girona)
Muestra Internacional de Teatro de Investigación. Sevilla
2007
FILO Londrina (Brazil)
Festival Internacional do Rio Preto (Brazil)
Escena do Sao Paulo (Brazil)
Festival de Concepción (Chile)
Lluvia de Teatro de Valdivia (Chile)
Temporales Teatrales de Puerto Montt (Chile)
Festival Internacional de Badajoz
Muestra Internacional de Teatro Contemporáneo de Santander
2006
Festival de Guadalajara (Mexico)
Festival Internacional de Las Palmas
Festival de La Paz (Bolivia)
Festival de Santa Cruz (Bolivia)
Festival Madrid Sur
Festival Temporada Alta (Girona)
Temporada en Teatro Español, de Madrid
FIT (Cádiz)
Festival Internacional de Vitoria
FUT. Guadalajara (Spain)
2004/05
Festival de Manta (Ecuador)
Festival de Guayaquil (Ecuador)
Festival de Portoviejo (Ecuador)
Festugen (Denmark)
Festival Internacional de Carballo (Coruña)
Festival de Clunia
L Festival de Teatro Clásico de Mérida
Art Carnumtum Festival. Viena (Austria)
Kontakt Festival de Torun (Poland)
Princeps Comediants. Montpellier (France)
Sagunt a Escena
Feria Internacional de Aragón
XIII ISTA International Sesion
Festival de San Javier
Festival Portaferrada. Girona
Rialto Teatret Copenhague (Denmark)
2002/03
V Antikenfestspiele Trier (Germany)
LIII Dubrovnik Summer Festival (Croatia)
Festival Internacional de Badajoz
Festival Internacional de Vitoria
Temporada Alta. Girona
Festival de Grenoble (France)
Festival Internacional de Málaga
Tampere Festival (Finland)
Temporales teatrales Puerto Montt (Chile)
Festival de Valdivia (Chile)
FITEI de Oporto (Portugal)
Festival Puerta del Mediterráneo
Festival de Otoño de Madrid
Gira en Kerala (India)
2000/01
FITEI de Oporto
Festival Mercosur de Córdoba (Argentina)
Buenos Aires. Temporada
Gira en Mar del Plata y Rosario
Festival Iberoamericano de Cádiz
Muestra de Autores Contemp. de Alicante
Festival Art Carnuntum. Viena (Austria)
Sagunt a Escena
Festival Internacional de El Cairo (Egypt)
Festival de Almada (Portugal)
Festival Mercorsur de Córdoba (Argentina)
Sitges Internacional
Festival Internacional de Badajoz
Festival de Otoño de Las Palmas
1998/99
FITEI de Oporto (Portugal)
Fira de Tárrega
Festival de Badajoz
Festival Don Quijote París
Festival de Vitoria
Festival Madrid-Sur
Festival de las Artes de Costa Rica
Forum Olot
Odin Sommerfestivalen (Denmark)
1996/97
FIT de Cádiz
Festival Internacional de Vitoria
Festival de Granada
Tánger y Tetúan (Morocco)
Festival Internacional de Málaga
Festival de El Egido
Festival de Las Palmas
Festival Don Quijote. París
1992/95
European Arts Festival (UK)
Belfast Festival (Ireland)
Festival Internacional de Bérgamo (Italy)
Open Week. Holstebro (Denmark)
Bienal Internacional (Malta)
Festival Internacional de la Habana (Cuba)
Festival Internacional de Londrina (Brazil)
FIT de Cádiz
Informal Theatre European Meeting
Melbourne TheatreWorks (Australia)
FITEI de Oporto (Portugal)
1990/91
Festival Internacional de Sitges
ETC internacional, Murcia
Aradeo e i Teatri (Italy)
Festival Internacional de Cardiff (UK)
Londres, Wattermans Art Centre (UK)
Bienal Internacional (Malta)
Festival de Portalegre (Portugal)
Transway, Glasgow (UK)
Festival del Mediterráneo de Malta
Encuentros Internacionales de Lieja (Belgium)
Festival Internacional de Dijon (France)
1986/89
Festival de Otoño de Madrid
Festival Internacional de Palma de Mallorca
Festival Internacional de Vitoria
Veranos de la Villa. Madrid
Festivales de Navarra
Fira de Teatro de Tárrega
Mostra Internacional de Ribadavia
Festival Iberoamericano de Cádiz
Bienal Internacional de Barcelona
ATALAYA has functioned as an experimental theatre group since its creation in 1983. Its travels span over 420 cities
in more than 30 countries over 5 continents. The current theatre troupe at Atalaya has been awarded:
PREMIO MEJOR ESPECTÁCULO DE TEATRO DE LA TEMPORADA. TEATRO DE ROJAS DE TOLEDO 2010
PREMIO FESTIVAL INTERNACIONAL DE CAZORLA. 2010
PREMIO ESCENARIOS DE SEVILLA AL MEJOR ACTOR. 2010
PREMIO ESCENARIOS DE SEVILLA AL MEJOR ESPECTACULO.2010
PREMIO MOSTRA INTERNACIONAL DE RIBADAVIA 2009
PREMIO ARTES ESCENICAS. Delegación Provincial de la Junta de Andalucia 2009
PREMIO CIUDAD DE UBEDA 2009
PREMIO NACIONAL DE TEATRO 2008
PREMIO GAUDI (ADE) A LA MEJOR ESCENOGRAFIA 2008
PREMIO A LA TRAYECTORIA. DIPUTACION PROVINCIAL DE SEVILLA 2008
PREMIO MEJOR ESPECTÁCULO INTERNACIONAL PUERTO MONTT (Chile) 2007
PREMIO EL PÚBLICO A LAS ARTES ESCÉNICAS 2006
PREMIO MEJOR ESPECTÁCULO ANDALUZ 2005
PREMIO MEJOR DIRECTOR ANDALUZ 2005
PREMIOS MEJOR ESPACIO SONORO FERIA DEL SUR 2005
PREMIO MEJOR VESTUARIO EN LA FERIA DEL SUR 2005
PREMIO DEL JURADO AL MEJOR ESPECTÁCULO EN LA FERIA INTERNACIONAL DE ARAGON 2004
PREMIO DEL PUBLICO AL MEJOR ESPECTÁCULO DE LA FERIA INTERNACIONAL DE ARAGON 2004
PREMIO MUESTRA NACIONAL DE PALENCIA 2002
PREMIO FESTIVAL INTERNACIONAL DE EL CAIRO 2001
PREMIO ESCENA 2000
Nº 1 EN EL “RANKING” DE LA CRITICA DE BARCELONA (Marzo 99)
PREMIO NACIONAL ERCILLA 98
PREMIO MEJOR PUESTA EN ESCENA ANDALUZA 98
PREMIO MEJOR ESPECTACULO ANDALUZ 96
ATALAYA is the second most highly valued private theatre company that receives funding from the INAEM (National
Institute for Dramatic Arts and Music) - part of the Department of Culture. In 2008 it opened the Centro Internacional
de Investigación TNT (International Research Centre) in Seville (with the support of the Council, Department of
Culture and Autonomous Government of Andalusia) which consists of the largest private theatre in Andalusia, an
alternative room, classrooms, a library and other facilities. The Government of Andalusia published the book “Atalaya,
XXV years looking for utopias” to coincide with the 25th anniversary of the company´s founding and in 2008 it received
the Premio Nacional de Teatro (National Prize for Theatre) – the most prestigious award in Spain and the first time
since its creation in 1956 that it was given to a theatre outside of Madrid or Barcelona.