The Little Prince`s worlds

CAST & CREATIVE TEAM
Writer: Antoine de Saint-Exupéry
Dramaturgy and adaptation: Marc Artigau and Àngel Llàcer
Songs’ lyrics: Marc Artigau
Composer and music conduction: Manu Guix
Director: Àngel Llàcer
Cast: Xavi Duch, Elena Gadel, Àngel Llàcer/Ivan Labanda, Josep Palau and The
Little Prince
With the collaboration of: Júlia Bonjoch
Visual scenography: Desilence Studio
Scenography: Desilence Studio and Jordi Queralt
Lighting: Albert Faura
Sound design: Roc Mateu
Dressing design, masks and characterisation: Amadeu Ferré
Dressmaking: Blanca Ferré Carreras
Hairdressing and make-up: Àngels Salinas
Choreography: Xavi Duch
Assistant director: Daniel J. Meyer
Director’s assistant from Institut del Teatre: Álvaro Sanjuán
Technicians: Roger Ábalos, Peni Barrachina, Juan Boné, Alfonso Ferri, Aitor
Rosás and Albert Sanjuan
Stage manager: Daniel J. Meyer
Photography: David Ruano, Bito Cels and Marina Raurell
Graphic design: Pau Masaló
Press and media: Anna Madueño
Executive production: La Perla 29
An idea from: Àngel Llàcer, Manu Guix and La Perla 29
Critics say...
The Little Prince, the musical about the poetical story by Antoine de Saint-Exupéry,
have won over the audience, both children and adults. The luxurious wrapper and
the quality of the show, under the direction of Àngel Llàcer and music of Manu
Guix, have made a pearl of it, outstanding on this year’s programme.- El Periódico
The team made by the vain, fragile rose, played by Elena Gadel, and the curious,
brave leading role fill up the scene with magic, taking the audience to wonderful
planets. - La Vanguardia
Applauses and discrete dancings indicate feelings, memories and reafirmations.
While the little ones find out a new, simple world, full of love and delicateness,
adults remember that we all have a little prince inside, we just need to know how
to listen to him. - El País
A piece that moves because of its essence and that captivates for its dynamism - El
Punt Avui
The Little Prince is a high level show. The great variety of sets and its versatility
melds with the lighting, the colours, the shine and the magic of sound. It is a dream
that fascinate us, a changing area full of beauty that blinds. - El Mundo
The Little Prince is one of those shows that will leave a mark which will take time
to make it disappear of the collective imagination. It will because of its conception
and its accuracy to the original tale; also because of the application of the newest
and more sofisticated audiovisual technology without forgetting about the poetics.
- Núvol
The version of Saint-Exupéry’s tale that Àngel Llàcer and Manu Guix have created
is a simple, direct piece, with no additives, so clear and with such beautiful songs
that makes of it a really especial show. - Time Out
The virtue of this musical lies on the musical management of feelings. It is not too
sweet or overloaded, but it knows when to change to an emotional mood, in the
most shocking, revealing parts. - MásTeatro
When I grow up, I want to be like The Little
Prince
When we were thinking about making a musical based on The Little Prince we did it under
the premise that Sanint-Exupéry’s novel is one of the most spread and loved stories
worldwide. It has been adapted for film, theatre, opera, radio... The Little Prince is a
universal tale. Our objective when we started to work on it was to bring it to the stage as
never seen before. But, how could we do that? In the first place, keeping its essence, its
core. Saint-Exupéry’s text has many possible interpretations, it is no sweet but cruel, it
shows people miseries; from a sweet point of view, but it does. It is also a love story
because it explains the trip of a kid who aims to understand that feeling: love. To bring to
the stage this metaphoric text full of poetry, we have worked with mapping design that
generates textures and areas that allow us to fill up with volume and colour each set in the
play. We will feel that we are inside Saint-Exupéry’s world: we will cross the desert, we
will walk on the grass, we will fly over B612 asteroid, we will visit the king’s planet and we
will lose ourselves in the geographer’s world. Every design will be a very detailed visual
explosion. What’s more, in order to make the experience of this journey as real as possible,
there is a sound system that allows music to have an outstanding presence in the show,
creating a rollercoaster of emotions: we will feel, as the Little Prince does, happiness, joy,
excitement, hope, disappointment, curiosity...
Making the musical of The Little Prince means sharing our interpretation of an emblematic
story with those who know and love it and, at the same time, explaining it to the ones that
have never heard about it. I imagine people of my generation coming to the theatre with
their children in order to show them The Little Prince through our performance.
And yes, when I grow up I want to be like him, like the Little Prince: a
person who always tells the truth, who has no fear, who doesn’t hide and
never loses curiosity. Someone who doesn’t want to quit learning.
Someone who doesn’t want to grow up if it means forgetting how to be a
child.
Àngel Llàcer
Director and actor
It is only with the heart that one can see
rightly
Setting music to The Little Prince story has been a huge challenge. With a very clear aim:
contributing to increase the power of emotion. The Little Prince is about basic feelings
such as love and friendship, about the importance of honesty, about never losing our
capacity of feeling and about being surprised by the world that surrounds us. And it is
precisely from this honesty, without having any preconceived idea, without thinking about
a unique style, from where I have composed the music for the show. I always thought that
the most powerful compositions are those that come straight from the heart. At least,
these are the ones that make me feel prouder.
I hope you let the magic of The Little Prince seduce you; is one of the most wonderful
stories never written. And if with the work that we (Àngel, Tatiana and the whole team
that has made this production possible) have done, we get to thrill you, even if it’s just a
little bit, we will be very pleased.
The pilot sings:
“There I learnt that everything depends on me,
And that we all have a Little Prince inside,
You just need to want to feel him.
There I learnt that what’s essential is invisible
to the eye.
And all I want is learning to love and to be
happy.”
So let yourselves be carried away with the
Little Prince that you sure have inside and
never stop to listening to him.
Manu Guix
Composer and music conductor
Taking care of a baobab
You have to be really careful while landing on B612 asteroid where the Little Prince lives,
because adapting an universal classic like this one means to storm, even if it’s just a bit, the
collective imagination of all of us: the rose inside the bell, the well that sings, the drunkard,
the lamplighters, the snake, the drawn sheep... Not only the landscapes of the childhood of
the readers but magic stories from the book we all feel close to us. That why the
dramaturgy has tried, as far as possible, to travel from planet to planet, on top of the birds
as the Little Prince does, without being domesticated, as the fox will say, and being a
vehicle – as subtle as possible – from the book to the stage. In Federico Garcia Lorca
words, let the poetry off the book to become of flesh and blood. The structure responds to
three parts: the presentation of the character, the Little Prince, through the pilot eyes;
from the trip he does among the planets until he gets to Sahara desert; and the last act, the
last days that he shares with the pilot, until the farewell. Trying to respect the core of The
Little Prince, its fierce poetic and his metaphor power, after working a lot with it, you
realize that it is like taking care of a baobab: patience and determination are needed, and
then, when you believe you have already tamed the text, you find out that it has been the
other way round: the text has domesticated you.
Marc Artigau
Dramaturgy and lyrics
All people have started being a child (but just
a few remember that)
The Little Prince is a tale that Antoine Saint-Exupéry wrote after having a plane crash in
the Sahara within an expedition that was going from Paris to Saigon in 1935. Four days
after and almost dying, a Bedouin saved the pilots and their life. From this experience
comes The Little Prince (published on April 6th in 1943 in New York), a legendary tale and
philosophical story questioning about the relationship between the human being and the
world. The book is also illustrated with drawings from the author, that take part on the
story and that are even more known than the tale.
If you please... draw me a sheep!
The narrator of the Little Prince, like its writer, is a pilot who have had a breakdown and
had to land on Sahara desert in order to repair the plane. The day after the landing, he is
awake by a child voice who asks him to draw a sheep. The child is the Little Prince, who
lives in asteroid B612 all alone, where he takes care of three volcanoes and a rose. Day
after day, the Little Prince keeps telling his story to the pilot: how his planet, asteroid B
612, is, the tragedy of baobabs and volcanoes, the born of an arrogant rose and, at last, the
expedition through many asteroids and planets searching for friends until his arrival to
the Earth. A geographer who never leaves his planet; a funny king who is in charge of an
asteroid even smaller than the one which the Little Prince inhabits; a vain, boring man
who just listens to the praises; a drunkard who drinks to forget he is a drunkard; a
business man who counts stars and a lamplighter who is trapped in a silly circle. Under the
appearance of a children tale, The Little Prince brings together, with a wonderful
simplicity, the long and continuous Saint-Exupéry’s reflection about friendship, love,
responsibility and the meaning of life.
The phenomenon Little Prince
The Little Prince is one of the most translated and read books all around the world. It has
been translated to more than 260 languages and dialects, including Sardinian and Braille.
It is also one of the few modern books that has been translated to Latin. In 2005 it was
translated to Toba, a native language from North-Argentina, and it turned out to be the
first book in that language since the New Testament. It is the most read and translated
French book from all times, with more than 140 million of copies sold.
Thanks to the good reception among the audience since its first publication and the fame
that has achieved through all these years, it has been adapted many times and it has been
the inspiration for the creation of many works. Among the adaptations: films, musicals,
cartoon series, theatre, opera and songs related to the plot of the story. One of them, the
movie The little prince (1974) by Stanley Donen won a Gold Globe and was nominated to
the Oscars. There are also audio adaptations, narrated by artists that were recorded in
vinyl and cassette and were also broadcasted on the radio. The actor Richard Burton
received the Grammy award to the best child recording for his adaptation in 1974.
Moreover, the best known text of Saint-Exupéry has a museum itself in Hakone (Japan)
and the last summer an amusement park was open in Ungersheim (Alsace, France). Over
that cultural and leisure proposals, The Little Prince is part of school programme in
Morocco, Canada, Korea and Japan, among other countries. Therefore, The Little Prince is
not only an editorial phenomenon but a cultural, universal phenomenon that improves
collecting and a really powerful fan movement all over the world.
The Little Prince’s worlds
Scenography
Tatiana Halbach and Jordi Queralt are the creators of the
scenography, a key element for the show that contributes on
making the audience seeing The Little Prince as they had never
seen before. This scenography mixes physical elements that will
move depending on the necessities of each scene with mappings
projected on top of these elements. The mappings are a creation
of Desilence Studio (Tatiana Halbach, SØren Christensen and the
rest of the team).
In the journey that takes the Little Prince from his asteroid to the
Earth, the child stops through his way in order to get to know
new worlds and new friends. The scenography of Jordi Queralt
and Tatiana Halbach will make the audience travel like the Little
Prince from the desert to the grass, through B612 asteroid, the
king’s planet or the geographer’s world. There are set changes in
real time and each set is a very detailed visual explosion.
There is also animation designed by Desilence Studio, that
interact with the actors: it is an invention which will coordinate
actors, music, sound effects and projections for the audience to
travel to all the worlds of The Little Prince, even with those who
don’t appear in the original illustrations.
Antoine de Saint-Exupéry
Author
1900-17 He is born on June 29th 1900 in an aristocratic
family. His childhood was quiet, playing in the nature with
his siblings, but only in appearance: when he was five his
father died because of an accident, when he was fourteen
the World War One broke out and when he was seventeen
his little brother, François, died because of an illness.
1921-27 In 1921 he gets the certificate in civil and military pilot. Assigned to the 34th
Aviation Regiment in Bourget, in January 1923 he suffered an accident and he injured his
cranium. He gave up the army, he made several jobs and in 1926 he was hired by
Latécoère company (future Aéropostale) for postal service in Dakar and later in Buenos
Aires and Tierra del Fuego. In 1927 he writes Courrier Sud.
1931-33 Saint-Exupéry marries Consuelo Suncín (1902-1979), a Salvadoran painter with
Argentine nationality. In 1931 Vol de nuit is published, a poetic evocation of flight
discipline, that requires the performance of duty although you are risking your life. He
entered again as test pilot after Aéropostale disappears.
1934-38 In 1934 he settles in Paris and works as a reporter for Paris-Soir newspaper.
Taking part in a rally to Saigon (now named Ho Chi Minh), his plane crashed in the desert,
200km from Cairo, an experience which he will show on Le Petit Prince. In 1934 he suffers
another accident in Guatemala.
1939-40 The breakout of World War Two catches him by surprise in his success as a
writer. Antoine is mobilised to Tolouse and he launches dangerous missions. Gallimard
editorial publishes Terre des hommes the same year. Demobilised in 1940, Saint-Exupéry
travels to the United States.
1942 In New York, on summer and autumn of that year, Saint-Exupéry writes and
illustrates Le Petit Prince. He will dedicate it to his closest friend, Léon Werth, a Judish
writer and progressive twenty-two years older than him.
1943 His editors publish Le Petit Prince in French and English at the same time. In May he
travels to Argelia and achieves – with difficulty because of his age – to be accepted again as
a pilot in the allied forces against Germany. He dies on July 31st near the coast of Marseille
when a German pilot brings down his plane. In 1948 Citadelle is posthumously published.
Àngel Llàcer
Director and Actor
Graduated in Dramatic Art by Institut del Teatre de
Barcelona, he is one of the most versatile actors and
directors from the Spanish scene. Among all the shows that
he has starred or where he has played an important role,
stands out Teatre Sense Animals, Mein Kampf, Boeing
Boeing or the musicals A Little Night Music, La Tienda de
los Horrores and The Full Monty. For that last production
he was nominated to the Max awards as best musical actor
and he obtained the Butaca award in 2002. Àngel Llàcer
has directed works of different theatre genres such as
Madame Melville by Richard Nelson, A midsummer night’s dream by Shakespeare, Ja en
tinc 30! or La Doble Vida d’en John.
Besides directing, he has also created the children’s musical La Màgia dels Ki-Kids, in 2008
he premiere the musical Què. El Nou Musical wih the collaboration of Manu Guix and in
2010 he released Geronimo Stilton, el musical del Regne de la Fantasia. In television he
was known for Operación Triunfo, a contest where he worked as teacher in five from the
seven editions, being the headmaster of the academy the last two editions. He has also
hosted the following shows: Pequeños Grandes Genios (TVE), Tú si que vales (Tele 5), El
Salt de l’Àngel (TV3), La Escobilla Nacional (Antena 3) and Tot és molt confús in Catalunya
Ràdio as theatre critic. He has won the Butaca award for the best musical actor in El somni
de Mozart (1998), and the Butaca award to the best supporting actor for Mein Kampf
(2000).
Manu Guix
Composer and musical direction
Composer, musical director and catalan performer. He has
worked as a teacher on the TV show Operación Triunfo
since its start in 2001. His musical studies began in 1987 in
Barcelona music school; after that he studied in LIPA
(Liverpool of Performing Arts). He has recorded three
albums – De cabeza, Manu Guix and 11 Llachs – and he has
taken part in many musical shows as singer and director,
such as Grease, el musical de tu vida or Gerónimo Stilton, el musical del Regne de la
Fantasia. In his career he has achieved many awards: Butaca award as best show for Tu, Jo,
Ell, Ella... i Webber... i Schönberg... in 1997, and the same award in 1998 as best musical
conductor for El Somni de Mozart. Nowadays he hosts the show Els optimistes in the main
catalan radio.
Marc Artigau
Dramaturgy and lyrics
Marc Artigau is graduated in Stage
direction and Dramaturgy for Institut
del Teatre of Barcelona. He is the
author of Ushuaia, a piece which won
several awards such as Premi Ciutat
de Sagunt in 2008 and Accèssit Marqués de Bradomín in 2008; T’estimem tant, Grace; A
prop; Els gorgs, Premi Boira de Vic; L’estona que vaig ser poema; A una nena nua llepa-li la
pell llepa-li la pell a una nena nua; Les sense ànima, Premi Ciutat de Sagunt in 2009 and
Premi Ramon Vinyes in 2009; Formigues, Premi Lluís Solà 2011; Caixes, Premi Talúries
2011 and Accèssit Marqués de Bradomín 2011; El Balneari; Casanova en directe or Un
mosquit petit, among others. As a dramatist he has worked with Xicu Masó, Pepe Pla, Martí
Torras, Catherine Allard, Oriol Broggi, Xavier Albertí and Pau Miró and many others. He
wrote and directed the introduction of the dance company IT and Semperomper Ballet in
Gran Teatre del Liceu. Marc Artigau has also written poetry: he has published Primers
Auxilis (Gabriel Ferrater award for young poetists), Vermella (Martí Dot award, 2007)
Escuma negra (o tres pensaments en veu alta) and Desterrats (Josep Maria Ribelles
award). He contributes daily to the main catalan radio writing a story for the show ‘El club
de la mitjanit’.
Xavi Duch
Actor
Xavi Duch studies arts in the school AULES in Barcelona,
where he learns interpretation, singing and dancing with
teachers like Julio Manrique, Ferran, David Selvas, Daniel
Anglès, Susanna Domènech or Aixa Guerra. He made his
professional debut in 2004 playing Goody in Fama, el
musical (Ramón Ribalta and Coco Comín). In 2008 he plays
Sir. Robin from Monty Python’s production of Spamalot in
Barcelona (Tricicle), where he also understudies the role of
the prince Herbert. In 2009 he moves to Madrid to create
the role of David in 40. El musical (Miquel Fernández). Later, he becomes a part of the
tribe of Hair love&rock musical (Daniel Anglès) in Barcelona and in the next season he
works in the company of Los Miserables (Christofer Key and James May). During this
period he also conducts the “Cantània” of the Auditori de Barcelona 50 milions de segons,
he plays Pitu in the musical A força de cançons (Pau Doz) and sings the Cuentos Cruentos
(Hugo Guzmán). In addition, he plays Burrs at The Wild Party (Anna Valldeneu), role that
gave him a nomination as best musical actor at the Butaca awards 2013. He has also
worked at The Hole (Yllana), with the vocal group DeuDeVeu during their summer tour,
and he has also played the role of Golfo in Les golfes del Maldà. Years before he worked in
many different shows for kids and teenagers: Pippi Langstrump, Sherlock Holmes and el
club dels pèl-rojos, Tom Sawyer detectiu, Els músics de Bremen and McBeth...con queso,
among others. In cinema, he has starred in Los amores inconclusos (Frank Toro, waiting to
release) and has dubbed the song of Olaf in the catalan version of Frozen (Disney). In the
television he has played the roles of Piqué and Alves in Crackòvia and Ricky in El cor de la
ciutat.
Elena Gadel
Actress
Elena Gadel made a name for herself in 2002 in the
second edition of the TV show Operación Triunfo. After
this experience, the artist focused in musical theatre
where she has starred in different shows. Her debut was
with the theatre company Dagoll Dagom with the show
Mar i Cel, where she played Blanca from 2004 until 2006.
After that she played Rizzo in Grease, el musical de tu
vida, from 2006 until 2010. In 2010 Gadel presented her
first solo album, Tocant fusta, based on pop and with
flamenco, funk and jazz reminiscences. In 2012 she presented the same album in Spanish
under the title De madera. Also in 2012 she starred in the musical Over the moon for 5
months in the Almeria Teatre of Barcelona. April 2014 she has edited her second solo
album, Delicada. 14 songs composed by her with pop and flamenco style. Lately she was
in the jury of the TV3’s TV show Oh happy day, she has also sung in the soundtrack of
Enxaneta, she has co created the song for La marató de la pobresa of TV3 and she has
composed and sung the music of the show Quina penya of Barça TV. She also writes and
presents a weekly section in Onda Cero Catalunya next to Llucià Ferrer.
Ivan Labanda
Actor
Multidisciplinary artist. He works as actor, comentator,
screenwriter and director on media and performing arts.
Among his newest works on TV stand out Polònia (Premi
Ondas and Premi Nacional de la Acadèmia de Televisió);
Crackòvia; KMM; Porca Misèria (Premi Ondas), Jet Lag,
Psico- Express, Laberint d’Ombres and Leonart (Premi
Nacional Zapping).
He was awarded with Premi Butaca for Best Musical
Actor, and he has been nominated on several ocasions.
He has taken part in more than 45 shows in different theatres of the country, under the
direction of awarded professionals such as Xavier Albertí, Sergi Belbel, Tamzin Townsend,
Pau Miró, Àngel Llàcer, Joel Joan, Joan Lluís Bozzo (Dagoll Dagom), Lluís Homar, David
Pintó, Joan Font (Comediants), El Musical Més Petit, Abel Folk, Elisenda Roca, Paco Mir
(Tricicle), Josep Costa, Xavier Ricart, Sílvia Sanfeliu, Gustavo Tambaschio, Jordi Prat,
Lurdes Barba, Toni Martín and Mikel Fernández.
Josep Palau
Actor
Josep Palau (Badalona, 1989) has licensed in
Media. He started with amateur theatre et the age
of 8, a passion which he will never abandone. As a
professional, he has played a main role in 40, the
musical (2010-2011) and we also starred
Gerónimo Stilton (2010-2013), in Barcelona and
also on tour. At this moment Josep Palau is hosting
(for sixth year) TAGS, a TV show, and he is director
and presenter of the programme Sense Límits, which will be released in the catalan sports
channel.
Daniel J. Meyer
Director assistant
Daniel J. Meyer studied Performing Arts in
COSATYC/ANDAMIO 90 (Buenos Aires, Argentina) in
the specialisation of Direction and Acting. He kept
going with his studies in several courses and
seminars, such as a postgraduate course of
Production and Management in Performing Arts in
Barcelona University. He has took part in a large
number of shows: Geronimo Stilton, el musical del
Regne de la Fantasia (as director assistant, with
Àngel Llàcer), Senyor de les mosques (as director assistant and movement direction, with
Abel Coll), Doble Vida (as director assistant, with Àngel Llàcer), Els bojos del bisturí (as
director assistant, with Àngel Llàcer), Boeing Boeing (as director assistant, with Alexander
Herold), Si avui és diumenge demà és dijous (as director assistant, with Aleix Fauró) and
Edip 1,2,3,4 (as playwriter and director assistant, with Josep Galindo). He is the founder
and director of Descartable Teatre, composed for five pieces written and directed by him:
Descartable (in Nau Ivanow and on tour, Barcelona), Deflacionable (in Nau Ivanow,
Barcelona), Daian&Giggy Live Sex (in Fora de temporada, Girona and tour), Nestea con
Vodka (in Café Salambó, Barcelona) and Cola con Anís (in Café Salambó, Barcelona).
Desilence Studio
Visual scenography
The Desilence acronym
is the code word to
identify
the
multidisciplinary
duo
composed by Tatiana
Halbach
and Søren
Christensen. This couple
form one of the most
referenced team in the
Barcelona visual arts system. Working from the Ciutat Vella neighbourhood, in the heart of
the city, for more than a decade, the imagination of both artists has been captured in a
wide rage of contexts, from music to fashion and theater. Thanks to all their work,
Desilence Studio is in the epicenter of the cultural events in Barcelona.
Not knowing boundaries, their visual arts are open to a wide range of specialties where
shapes, textures and colors form an indivisible combination that becomes their signature
and handwriting.
The perfect blending between the passion for the research and the technical balance plus a
fierce working persistence result into collaborations with some of the strongest sponsors
in the field, allowing them not only to land in international festivals, but also to collaborate
in the art direction of successful theater plays or to project their vitality in dozens of
different scenes where the music was the prevailing note.
Jordi Queralt
Scenography
Jordi Queralt is an architect and has a M.A in Fine
Arts. He teaches architecture and design, but he also
works in Queralt Suau's studio, where he develops his
personal projects. From the studio he works on
conceptual projects, aiming to set up a new, abstract
vision, avoiding a realistic aesthetic. He works
between architecture, visual arts and other
disciplines such as dramaturgy, lighting, video,
performing arts, etc. Jordi Queralts works in order to
turn a story into action, time and space. From his
latest works it stands out the set design of the play Informe per a una acadèmia (directed
by Xavier Ricart and Ivan Benet) in Teatre Lliure and the scenography of Contra la ciutat
(directed by Esteve Soler) in Fira de Tàrrega (Trade Fair of Tàrrega). He has recently won
a Butaca award for the best scenography in Informe d’una Acadèmia by Franz Kafka.
Amadeu Ferré
Dressing design, masks and characterisation
He graduate for Escola Massana of Barcelona, where he
studied arts: drawing, jewellery, ceramics and sculpture.
His knowledge of culture, classic mythology and
performing arts, joined with his creativity, make him a
great professional in every discipline. Since 1983 he
works as creator, designer and maker of his pieces, but
also designing for others and as a teacher. He works both
for film and theatre, with a career that includes
collaborations with Acteón, Gran Teatre del Liceu de Barcelona, Centro Dramático
Nacional, Compañía Nacional de Teatro Clásico de Madrid, Teatro de la Zarzuela de
Madrid, Centre Cultural Lauredià (Andorra), Festival de Música del Castell de Peralada,
Teatre Nacional de Catalunya, Elsinor, Frederic Roda, Gestmusic, Grand Théâtre de
Genève, Ivonne Blake, Ramón B. Ivars, Kanzaman Productions, Lindsay Kemp, Palau de les
Arts de València and Ramón Simó among others.
Albert Faura
Lighting
Albert Faura studied ligthing in Institut del
Teatre of Barcelona, and also an inernational
course of lighting held by British Council in
London. He has lighted theatre shows, opera
and music concerts in many places such as
Los Angeles Opera, Houston Opera Bastille, Palais Garnier of Paris, Teatro Comunale di
Firenze, Fenice of Venezia, Gran Teatre del Liceu of Barcelona and Teatro Real of Madrid.
Among his latest works stand out Eclipsi (Xavier Albertí, Teatre Nacional de Catalunya), El
zoo de vidre (Josep Maria Pou, Teatre Goya), El joc de l’amor i de l’atzar (Josep Maria
Flotats, Teatre Nacional de Catalunya), 2666 (Alex Rigola, Schaubüne de Berlín), Tirano
Banderas (Oriol Broggi, Teatro Español), Incendis (Oriol Broggi, Teatre Romea) and
Dissabte, diumenge i dilluns (Sergi Belbel, Teatre Nacional de Catalunya). He also designed
the lighting for Arte (Josep Maria Flotats, Teatro Marquina), L´auca del senyor Esteve
(Adolfo Marsillach, Teatre Nacional de Catalunya) and Faust (La Fura dels Baus, Teatre
Nacional de Catalunya), among other shows. Besides performing arts, he has light the
Spanish pavilion in the universal exhibition in Shangai (2010). He has been awarded with
six Butaca awards, two Barcelona Critics awards and two Max awards.
Roc Mateu
Sound design
Working in circus since he was young, Roc
Mateu has a great experience in sound design
for theatre, circus, music cocnerts, festivals,
television and international events. He has
workd in so many theatres and festivals, such
as Teatre Nacional de Catalunya, Teatre Lliure, Centro Dramático Nacional, Mercat de les
Flors,Teatro Español, Teatro Clásico, Grec Festival, Almagro Festival, Mèrida's, Tàrrega's
or Music Festival of Peralada. He also worked in Primavera Sound, el Sonar, La Mercè or
universal exxhibitons in Lisboa (Portugal) and Aichi (Japó). As lighting and sound
technician of the company Tortell Poltrona, he has travelled to international festivals in
Canada, Italy, Holland and France. In TV he has worked as sound technician in the
following shows: Si l’encerto l’endevino, Crónicas Marcianas and El Bus. In these last years
he has created the sound design of Agosto (Gerardo Vera, CDN), Grease, el musical de tu
vida (Manu Guix and Coco Comin), Follies (Mario Gas, Teatro Español), Adiós a la infancia
(Oriol Broggi, Teatre Lliure) or Sweeney Todd (Mario Gas, Teatro Español). He won Gran
Via award as best sound designer for this last show. He also works as sound designer for
Pallassos Sense Fronteres NGO since 1994. He recently has been awarded with Butaca
award for his sound design in El Caballero de Olmedo, directed by Lluís Pasqual.
More information
anna@laperla29.cat
comunicacio@laperla29.cat
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