Dramatúrgia emergent europea: Portugal

Sala Tallers

The freshest European contemporary dramaturgy


We continue to export Catalan talent and discover new European voices with the second edition of European Emerging Playwriting and a new country in the spotlight: Portugal.


Two Catalan playwrights will present their texts at the Teatro Nacional Sâo Joâo in Porto, under the direction of a Catalan director. Cristina Clemente with Ventura, directed by Anna Serrano, and Jordi Prat i Coll with M’hauríeude pagar, directed by Pau Masaló.


Meanwhile, we will welcome two Portuguese plays, which will be translated and premiered in Catalan: Regras para um beijo (Regles per fer-se un petó)by Sara Barros Leitão and Viagem a Portugal – última paragem ou o que nós andámos para aqui chegar(Viatge a Portugal – última parada o el camí que hem fet per arribar aquí) by Joana Craveiro.


A round trip project that connects the TNC with the world.

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Regles per fer-se un petó


Every good tragedy begins with an infestation taking over the city.


In 2020, a pandemic forced to shut down of all theaters in the world.


It is said that theaters are closed once a week so that the ghosts can perform their plays and not curse them during the rest of the week.


Rules for a kiss tries to imagine what all those ghosts were doing that, from one day to the next, were locked up in theaters.

By rescuing press clippings, recommendations from the World Health Organization and security protocols published by institutions and governments, it is in the theater that we realize how absurd the world can be.


This piece has been written for a dramatized reading at the Teatre Nacional de Catalunya, to be read on the occasion of World Theater Day because, after all, it never hurts to celebrate the possibility of being together in the same theatre, watching and playing theatre

A trip to Portugal

Or how to know when the trip ends


We know how these things go. We put the car on the road without destination and that's it. Lands after lands, roads after roads and stops after stops. There is no way of knowing how far we go.


Years working intensely on people's memories, life stories, work memories, lands, places, we found ourselves with a full car.


There was nothing else, but where do we start?


A text made in layers, poetic to the core, sometimes enclosed in itself in its set of references to a country –Portugal– and based on the title of a work by José Saramago (Viagem a Portugal), and a story by Sophia de Mello Breyner (A Viagem), A trip to Portugal, written during a time that preceded the pandemic that is already leading us to a second life after it was over, it’s like the lining of a coat and its seams, the reverse of something, of a generation, perhaps, that sat down to look at the country and read it like that.