Liceistes i cruzados

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Promotional image of Liceistes i cruzados show

Liceistes i cruzados

  • Serafí Pitarra and Enric Carreres*
  • Sala Tallers
  • al

The new political climate of the year 1833 removed the privileges of the Teatre de la Santa Creu, which had held an absolute monopoly on the Barcelona theatre scene, as until then the law had granted control over theatre performances to the clergy in the hospital in each city. The relaxation of theatre regulations prompted the emergence of new theatres that would invigorate the cultural life of the city while making the Teatre de la Santa Creu adopt the name of Teatre Principal, with the aim of distancing itself from the new auditoriums. The effervescence of the rising new urban culture, in which theatre would become one of the main leisure attractions, would result in passionate disputes between supporters of the old and new theatre. The most paradigmatic rivalry in this respect was probably the confrontation between “liceístas” and “cruzados”, between supporters of the new Teatre del Liceu and the old Teatre de la Santa Creu. Pitarra’s extraordinary depiction of this dispute in his play Liceistes i cruzados gives us a brilliant testimony to a fundamental moment in the emergence of the new Catalan culture. Dolores’ father is a passionate cruzado who only wishes to marry his daughter to someone with his own tastes in theatre. Ricardo, who wants to marry her, will have to pretend to be a faithful follower of the Teatre de la Santa Creu to gain the father’s favour by meticulously memorising the long list of operas and artists seen year after year at the theatre in La Rambla, while trying to unmask a rival who has the favour of the girl’s father although he is actually a camouflaged liceista.

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Production team

Author
Serafí Pitarra and Enric Carreres*
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