«We want to wake up again tomorrow. It's a human desire, and intimate and political one, for which we need tools and great effort, but also tenderness and desire»

—Marina Garcés

Renacimiento makes the microcosms of a stage set up and of its workers the center of the piece. We want to stop and observe the sort of dialogues and exchanges that take place there. A kind of cooperation still specific and tangible, where we find that, without the collective force, without the community, it is imposible to have everything ready for the moment when the curtain opens. Renacimiento is drawn out of iconic moments taken from the history of Spanish democracy, a period that’s less than 50 years old. This landscape rebuilds, sometimes subtly, and some others more graphically, the last years of our history. Not to judge it again, but to look at it from a different perspective, and so maybe we can realise that everything is, always, still to be built. Renacimiento is a show in which 20 performers, dancers, actors and technicians are on stage together. A celebration of the theatrical deed, which places in the center the value of group work, dialogue, and community. .


And this last scene, that ends in a circle, is, from where and when it’s been made, one of the miracles that the lucky spectators who get to see it, will remember for years to come as one of the moments that re-signified their relationship with the stage, with theatre. The wonder is where La Tristura puts you to look at that last scene.

Pablo Caruana

El País

As they dismantle and set the stage, they tell each other about love and heartbreak, memories from their childhood, and labor problems, where the great question that guides the whole piece often lays: how much of that first and pure impulse that led to democracy has been lost? And another one: is it perhaps the time for a new renaissance?

Raquel Vidales


A wonder. An ode to the collective and to a shared effort, that puts on stage what the audience normally doesn’t get to see.

Machús Osinaga


And it’s like that, between technicians, sound checks and low voice confessions, they lay on the table different concerns, like the institutionalization of culture, the opportunity to re-generate our democracy and the importance to take a stance with it. In summary; the compromise with the others as and antidote against rampant cynicism.

Juan Losa

Diario Crítico

La Tristura keeps being recognised around the world for their singularity, their aesthetics, their poetry on stage. They always take risks and always get it right with their dramaturgical sense of the stage, as well as the visual aspects of the set.

José-Miguel Vila

El asombrario

Because the backstage of La Tristura is the metaphor of the comings and goings of a State that needs to be rebuilt, creatively. Technicians hang and take down creased landscapes. Equalizing sound, testing lights, and, at the same time, hearing unsettling family confessions. And what always finds its spot, between the banality of the repeated gesture at work: love, discussed, hoped for, despairingly intangible as a concept, slippery as a praxis. Life is ironic and romantic.

Analía Iglesias

El Cultural

With this piece, La Tristura shows maturity and power to build on stage an original dramatic tale, well told, that testifies the crucial times we are living. Theatre as a space for resistance and change, and a philosophy to be upfront, searching for the best possible things, doing so in community.

Liz Perales

Estreno el 2 de julio de 2020. Teatros del Canal de Madrid.

Creation: La tristura On stage: Roberto Baldinelli, Belén Martí, Alván Prado, Mundo Prieto, Emilio Rivas y Marcos Úbeda Lightning designer: Carlos Marquerie Set and wardrobe designer: Cecilia Molano Sound designer: Adolfo García Production direction: Alicia Calôt y Mamen Adeva Technical direction: Cristina Bolívar Set and wardrobe assistant: Almudena Bautista Technical assistants: Roberto Baldinelli y Mathieu Dartus Production assistant:Iván Mozetich Choreography:Mucha Muchacha

Extras at the opening: Andrés Bernal, Ana Botia, Alicia Calôt, Edgar Calot, Eduardo Castro, Emma De La O, Pablo Díaz, Manuel Egozkue, Teresa Garzón, Daniella Hernández, Gonzalo Herrero, Ainhoa Linaza, Marta Mármol, Belén Martí Lluch, Chiara Mordeglia, Iván Mozetich, Carmela Muñoz, Siro Ouro, Elisabet Romagosa & Sara Toledo Distribution and Communication: Art Republic Press: Paloma Fidalgo Photography: Mario Zamora Curtains paint:Nuria Obispo, Olga López, Ana Arroyo and Julia Navalón Curtains collaboration: Theatre De Liege and Sandra Belloi Confection: Vestuario Isabel López Props: Ricardo Vergne and Mundo Prieto Audiovisual supplier: Creamos Technology