A theater festival is like a melon: you have to open it to know how it is.

As a fruit, the melon has many virtues (against depression, for example) and is used in different cures. Apart from being a fruit, however, it has several symbolisms that can give rise to many, sometimes suggestive, interpretations.

Is it legitimate to exercise violence in any situation? Can we use it for purely artistic purposes? Who can and with what intentions?

We have denied violence and that is why we no longer know how to react to it.

This hypothetical play or performance takes place in a train carriage, it is a real sequence shot, it takes the time just between two metro stops and you are its only spectator.

What will you do? What would you do? What are you doing?

Progress is what has made us so different after a few thousand years and has transformed the world so much. Other species are practically the same now as they were thousands of years ago. An example of this is the scorpion, which is also one of the few animals capable of killing itself (or so they say). 

The other animal that can do this is, without a doubt, man.

In the desert, the monkey becomes human because he can quench his thirst with the salvific drop that the bottle still contains, or is it precisely because he is already beginning to be (human) that he goes to the bottle, knowing that it does not contain only liquid that will calm him but the essence of what will be permanence and reflection, ie pain?

This it's possible focuses on the audience and man's atavistic need for catharsis, emphasizing the long list of facial and body expressions that any audience makes unconsciously and mechanically. A fascinating visual experience where we will all see ourselves reflected.

speak of'a primary need of man now and in the past, which has always moved him to make theater inside prehistoric caves, later in the theaters of Greece and up to the present day.

A tired and economically exhausted country that is part of an old Europe that runs the risk of thinking about the past instead of drawing its future; this is the framework in which the Temporada Alta 2012 festival takes place.

Due to the economic crisis, there is a feeling of a certain general depression in the artistic world which, in addition, causes doubts to be generated about what the role of culture should be at a time like this.

A dangerous idea has taken hold: Culture is only for entertainment. It's a luxury. Because from the outside this place looks like a sunny amusement park? Maybe we sold ourselves badly and cheaply. Can we change it or is it useless? It is urgent to point the gun at us. If we consider culture as pure entertainment we will be Pinocchio on the island of pleasure. Playing, sleeping and laughing as we turn into donkeys that no longer serve only to carry stones.

Salvador Sunyer (son) has been the creator of the Temporada Alta festival spots for the last ten years. Coinciding with the thirtieth anniversary of the festival, Salvador has a daughter and does not see himself with the strength to continue being the same person he thought he was.

Alopècia Androgènica is the last short film he will make for this theater festival directed by his own father, with whom he shares a name and hairstyle.

In 1971 Jeanette revolutionized Spain with the song I'm Rebel. The subject was a worldwide success but here it was banned for underage girls. In 2018, and having suffered the biggest rollback of freedoms since Franco, another singer once again made an entire country fall in love with her Rebellion.

Amaia wins the reality show OT and represents Spain at Eurovision thanks to her talent and personality. She is the transformative figure capable of reaching all levels of society. She sings this song for us to hear again. She is the voice of Spain.

And now... And now... And now... And now what? What! Now… Now… Now…

A health, social and cultural crisis that has changed everything has placed us in the land of absolute uncertainty, but the arts have always moved and will move in crisis and uncertainty!