Renacimiento focuses on the microcosms of a stage set up and on the workers, the sort of interchange that is generated there, and that we think keeps some of the labour keys after the industrial revolution and before the digital one. A kind of cooperation still concrete and tangible.
Renacimiento poses the creation of a universe where we can talk about the first 45 years of Spanish democracy. A landscape, sometimes hypnotic sometimes violent, where we can profoundly admire and question the capacity for creation, cooperation and the new ways of relating to one another, socially and intimately.
Renacimiento is a masculine landscape. This is our desire, to try to understand, look from a closer distance, the conflicts that masculinity is living right now. Some days ago, a collaborator said in an spontaneous way, half joking, have seriously: “men have a problem. Women don’t, women are better. But men have a tremendous problem right now, they don’t know how to be, they don’t have referents, they’re lost and need our help”. Theatre and art have always been the main mirror to their communities, having the job we have, we couldn’t find a better way to inquire into this problem: putting men on stage to be, talk, and to try to collaborate among each other.
In Future Lovers six young people born around the year 2000 talk to each other and to the world. It’s a summer night outside the city, a group of friends, maybe in-between high school and college, have met there to drink, dance, talk, kiss.
With Future Lovers, we want to get closer to this generation, which is growing up in our new hyperstimulated and technological world. A world that is changing the ways we relate, communicate, touch and love each other. We want to look at it without having to judge it, because we are also part of this world.
Looking at them as they talk and behave like no one is watching, we create a bubble, a nest, that, looked at from outside, speaks to us directly, and forces us to go back to that time in our lives.