This course will be taught in person. If ultimately it is not possible to hold it at the Sala Beckett, it will be held online.
If I had felt the need to fight (tooth and nail) to defend an idea , make my opinion (on some matter) known, or undertake my own private struggle (against any injustice), I would never have studied playwriting. Rather, I would have created a Twitter account, not because I consider that having one’s own ideas is bad, but because I have always thought that the theatre is not the best setting for conducting such a protest. Theatre, in my view, has always seemed to me to be the best setting for reflecting and provoking thought in others. And how is that done? By proposing a conflict, one that sets against each other two antagonistic positions, and making it so that, from this collision of ideas, a question emanates that is difficult to answer. I know that I have achieved this when, following the situation being proposed, the receivers of the work who started off thinking one thing end up convinced of the opposite thing and, vice versa, when those who started off backing the opposite thing, ended up valuing the one with which, initially, they did not agree. Yes, the theatre that I have always pursued is a theatre that is neither dogmatic nor conclusive, that is nourished by contradiction, and above all, that dares to speak of all those things that, initially, we are not allowed to speak about. And I am stopping here because it is around this aspect, precisely, that I would like to centre the workshop, the taboo, or what boils down to the same thing: everything that it is forbidden to do or say, whether due to religious, psychological or social conventions. The requirement for attending this group experience will be to contribute a written idea or scene, based on this premise of taboo, on the first day of the course. And for this, to follow, I am attaching two long plays and one short one, written by myself, so that they can serve as an example of what I am trying to explain: Grooming, El pequeño poni and @hotmigrants.
Within the GREC 2021 Festival of Barcelona.
Paco Bezerra has been awarded the National Prize for Dramatic Literature 2009, the Calderón de la Barca National Prize for Theatre 2007, an Honourable Mention for the Lope de Vega Prize 2009, the Young Creators Theatre Award of the Community of Madrid 2005, the Morales-Martínez/Barahona de Soto Prize 2003, the Prize for Promoting Almería Abroad 2009, the Eurodram Prize 2014, the Prize for the Best Dramatic Author at the 21st GETEA Awards of Buenos Aires and the Cerino Prize for the Best Author of the 64th Edition of the International Festival of Classical Theatre of Mérida. He was runner-up at the 11th Valle-Inclán Award for Theatre 2017, the 19th Max Theatre Awards, the 16th European Prize for Theatre 2017, the ACE Prizes 2018 (Association of Performing Arts Critics of Argentina), Romero Esteo Prize 2004 and Caja Madrid Express Theatre Prize 2002. He has published close to a dozen texts that have been translated into numerous languages and have been premiered all over the world: Las criadas (2020), Fedra (2018), Lulú (2017), @hotmigrants (2016), El pequeño poni (2016), El señor Ye ama los dragones (2013), Ahora empiezan las vacaciones (2012), La escuela de la desobediencia (2011), La tierra de las montañas calmas (2010), Mr. Hitchcock vs Carolina 16 (2009), Grooming (2009), Dentro de la tierra (2007) and Ventaquemada (2003), among others.