Josep Maria Miró: “The playwright is a chronicler of his time”
A coach kisses a child, an innocent entrance gesture that undoes an avalanche of reactions. With about twenty translations, The principle of Archimedes He has made a target as the X -ray of the Society of Fear, a text that returns to the billboard, from February 19, as the first production of the Texas Space. In addition, Josep Maria Miró (Prats de Lluçanès, 1977) will direct this January The butler At the Heartbreak Hotel, among other projects that he tells us with his proverbial eloquence.
Josep M. Miró
What do you think of the return of ‘The principle of Archimedes?
A return like this seems a strange fact, but it should not be, because it would assume that we have a repertoire and that the authors here also review. It is a work that premiered more than a decade ago, but with the current context it seems freshly written.
Barcelona Theater: About 50 adaptations have been made, where do you think the validity is?
Josep Mª Miró: When it premiered, it was a text that was the result of the fall of the twin towers, the time when the safety and terror paradigms change in the world. The society of fear that was already fond of the work has grown and installed fully. If a journalist is in charge of today, the playwright is a chronicler of his time. For me Archimedes is a work that speaks of my time, of a very specific age.
Eric Balbàs, Sandra Monclús, Jordi Coll and Marc Tarrida, star in ‘The Principle of Archimedes’
How do you live the fact that a new team takes over?
In leo [Leonardo V. Granados, director] He is 25 years old, he was 12 years old when the piece was released. I find it great that a person as young as he wants to work on a text of mine. We have a very fluid communication and I know that the work is in the hands of a new team with a younger and more positive look.
Also premieres The butlersecond part of the leaflet of the epiphany that marks a change of style. What do you owe?
The first of these texts [El cos més bonic…] I write it in the confinement and there is a turning point for me: a moment of loneliness, to return more to my village, also for the age. On the other hand, I follow the advice of Xavier Albertí of thinking and working on the concepts of language and theatricality.
How would you describe the argument of the work?
She is a woman who becomes aware of the indecency of our world and escapes a chain of human corruption, it goes from a slave to being an Amazon. A journey of awareness over three decades when many things happen. A terrible character who may seem fragile at the same time, but the real transformation is his ability to verbalize things, to denounce an unfair and corrupt world.
Do you hide a complaint from the present?
At some point during the play, the protagonist says: “You have ended up infecting our landscape. You have filled every corner of this country with houses and more houses. ” These days I get my hair out of mind when I think about the subject of Valencia. You have to be very miserable to build in flood areas. We have attended a natural disaster, but also a political and ethical catastrophe. We must claim ourselves and the community ethical mechanisms, because we are going to destruction. Politics must be recovered as a space of authenticity and truth. The butler is here hooked with The most beautiful body …to the feeling of living a change of cycle, a cap, something conscious or unconscious of apocalypse in the sense of change of paradigm, of touching roof.
Rose renowned
How did you work the character of The butler With Rosa Renom?
She is an actress who conveys humanity and at the same time unfolds a little ferocious force. It also has a very alive, very genuine language. Rosa did not want to do monologues, but when she read the text she said yes, she wanted to get into this character, and do so in a context of hyperproximity, such as Heartbreak.
Lately, premieres in private rooms. Do you feel that public theaters do not support your work?
I feel that I am a author closest to public theater, and this limits my interlocutors more. I deeply outraged me that a public theater does not read you, make you ghosting Professional. I can think that someone from the private is a maleduke if he does not receive you, but when someone in the public sector does not attend to you, he is missing his work obligation. Sometimes I feel like we have a complicated country.
Roberto G. Alonso and Jordi Cornudella
He also returns I, Travesti In La Villarroel.
It is a show I love a lot, a love letter to the Roberto G. Alonso made to its interpreter size. I was surprised to see that the audience of the show is much more transversal than I had imagined and that makes me very happy.
In the Greek 2025 present new work, The monsterwinner of the Quim Masó Award. What can you tell us about?
It deals with a community that needs to generate a monster to justify itself, an expensive and amoral figure that calls into question all values. Theater is a great place to explore the boundaries without having to give answers.
Any other project you have in the PAP?
I am writing a new text that will surely be released by 2026 or 2027. With Le Croupier We prepare a show that is said Sicaliptical. In addition, Nerium Park It will premiere in Madrid in February. I also have a couple of orders that I am still ruminating. As important as accepting it is knowing no, especially if I don’t see myself or I think someone else would do better.
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