The National Dramatic Center (CDN) inaugurates new content and creations on the digital platform #LaVentanaDelCDN

The National Dramatic Center (CDN) inaugurates new content and creations on the digital platform #LaVentanaDelCDN, starting the section "The theater to come" with colloquia, essays, interviews and masterclass, among other activities, which will form a new digital magazine linked to Thought and the Performing Arts

Reference names in contemporary theater and culture such as Lola Arias, Quique Spleen, Christiane Jatahy, Andrés Lima, Fabrice Murgia, Roland Schimmelpfennig and Remedios Zafra inaugurate a cycle of master classes and colloquia within this new "theater to come"

Creators and creators of different disciplines such as Raúl Aguirre, Nao Albet, Paco Azorín, Xavier Bobés, Albert Boronat, Ana Bustelo, Denise Despeyroux, Nando López, Fernanda Orazi, Jose Padilla, María Prado, Aitor Saraiba or Voadora, among others, have been invited to make pieces for the new contents of #LaVentanaDelCDN, which will be uploaded throughout these weeks

The National Dramatic Center (CDN) has launched new content and creations within online programming #LaVentanaDelCDN. Thus, the section has started "The theater to come" with colloquia, essays, interviews and masterclasses, among other activities, which will configure a new digital magazine linked to Thought and the Performing Arts. The objective is to reflect on the immediate future and thus open the door to what is to come. To do this, the CDN is proposing weekly, together with projects by different creators and creators, a series of activities that help us think in common and in depth: debates, meetings, videoconferences, etc.

With "The theater to come", the National Dramatic Center opens its discourse to music, painting, light, philosophy, literature, photography, architecture, psychology, poetry, sculpture, medicine, sport or cinema as agents involved in performing art in the extent to which they contextualize it or, simply, endow it with that precious and precious beauty.

In format of masterclass, we have had as guests Lola Arias -writer, theater and film director and performer-, who has given the master class «About other people's lives. Theater as a remake of the past » already Andrés Lima -director, author and actor- who has told us about "The theater creation process" starting from his work Shock (The Condor and the Puma), one of the favorite works of the Max 2020 Awards with four nominations for the main categories, and its continuation Shock (The Storm and the War). The next guests will be Guillermo Calderón -actor, playwright, screenwriter and theater director- on May 26; or the costume and stage designer Alejandro Andújar, on June 2.

In colloquium format, the director of the National Dramatic Center, Alfredo Sanzol, and the essayist Zafra Remedies, Anagram Essay Prize 2017 for The enthusiasmhave debated how «Retrieve enthusiasm (so that it ceases to be the artist's sole livelihood)». Roland Schimmelpfennig -one of the most international contemporary German playwrights whose works have been released in more than forty countries- and Quique Spleen -who together with his brother Yeray forms the theatrical tandem QY Bazo- star in the meeting «Blot and count" new "? The challenges of de-escalated theater ». The appointment will be this Thursday, May 21, live at 7:00 p.m. on the CDN website and social networks. The next participants in the colloquia are the philosopher Santiago Alba Rico and the author and stage director María Velasco, on May 28; or the director and playwright Fabrice Murgia, Christiane Jatahy -author, theater director and filmmaker- and Alfredo Sanzol, on June 4.

On the other hand, the CDN is programming four new sections in which creators from different disciplines have been invited to make pieces for the new contents of #LaVentanaDelCDN, which will be uploaded throughout these weeks: From my kitchen, in which authors, such as Xavier Bobés, tell a repertoire work using only elements present in their kitchens. The window of creation It consists of audiovisual projects born from the experience of confinement by artists such as Nao Albet or Voadora. #HistoriasEnHilo It is the challenge launched to Denise Despeyroux, Nando López or Jose Padilla, among others, to generate a narrative thread throughout a day on Twitter, with which users of this social network can interact. By last, More than a thousand words it combines text and image thanks to names such as Albert Boronat and Aitor Saraiba, María Prado and Ana Bustelo or Alfredo Sanzol and Raúl Aguirre.


The CDN has offered open theatrical creations from the beginning of the confinement through its website and social networks. In Unforgettable has remembered historical assemblies by the hands of its protagonists. It has also carried out Reading club, offering the texts of the plays Elena Fortun by María Folguera, The barbarians Lucía Carballal and Man up by Andrea Jiménez and Noemi Rodríguez. It has also offered in Creators and creators live, Instagram encounters with Carolina Africa, Tomás Cabané and Tomás Pozzi, Julián Fuentes Reta, Juan Mayorga or Paloma Pedrero. He has rescued interviews with different professionals in Stage crafts and has retrieved podcast from Sound fiction through Almudena Grandes, Carol López or Jose Padilla. In From my window, different theatrical figures have told us about their confinement through a podcast: Paco Azorín, Clàudia Cedó, Pablo Messiez, Fernanda Orazi or María Velasco. Games have not been lacking through a series of Trivial on the secrets of the theater and the historical and present playwrights of the scene.

Calendar of upcoming events on the CDN website and social networks

  • Wednesday, May 20: Premiere in The window of creation of the video I am a human from Voadora.
  • Thursday, May 21, 19.00: «Blot and" new "account? The challenges of de-escalated theater »with Roland Schimmelpfennig and Quique Bazo.
  • Tuesday May 2619.00: Masterclass with Guillermo Calderón.
  • Thursday, May 28, 19.00: Colloquium with Santiago Alba Rico and María Velasco.
  • Tuesday June 219.00: Masterclass with Alejandro Andújar.
  • Thursday, June 4, 7:00 pm: Colloquium with Fabrice Murgia, Christiane Jatahy and Alfredo Sanzol.

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More than a thousand words: with María Prado and Ana Bustelo

Today we bring you a new edition of # MásQueMilPalabrasCDN, the initiative that promotes collaboration between writing and illustration. The second tandem of this joint creativity is formed Maria Prado and Ana Bustelo. The playwright proposes the text Greyish white, in which Bustelo was inspired to make the illustration Siren.

Greyish white, by María Prado

You can download the PDF of the full text of María Prado HERE
If you prefer to listen to it, then you will find the podcast recited by María Prado herself.

Siren, by Ana Bustelo
You can download the PDF of Ana Bustelo's illustration HERE
Maria Prado She is a playwright, actress, and theater director. Bachelor of Textual Interpretation from RESAD. Master in Theory and Criticism of Culture and Master in Theater Creation from the Carlos III University of Madrid (Spain) coordinated by Juan Mayorga. In February 2019, he writes and directs Impulses (bpm) within the "Writings on the Scene" program of the National Dramatic Center (Spain), published in October of that same year. This same year, it conducts workshops within program DbranchTOURgia coordinated by AECID and CDN at the Cultural Centers of Spain in Miami, Mexico and the Dominican Republic.
Ana Buste it She works as an illustrator, a profession that brings together two of her favorite activities: drawing and reading.
He currently enjoys a creation scholarship at the Royal Academy of Spain in Rome, carrying out a project that investigates the structure of the altarpiece for adaptation to contemporary graphic narrative. In his drawings he recognizes the influence of Hollywood cinema in the 50s and 60s.

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The CDN adds six nominations to the Max Awards

Shock (The Condor and the Puma) concentrates four nominations for the awards organized by the SGAE Foundation

The National Dramatic Center (CDN) has six nominations in the XXIII edition of the Awards Max of the Performing Arts. The organizing committee has announced this Thursday the finalists of the 19 categories in competition for these awards organized by the SGAE Foundation.

Shock (The Condor and the Puma) has become one of the favorite works of this edition with four nominations: best theater show, best stage direction (Andrés Lima), best stage space design (Beatriz San Juan) and best leading actor (Ernesto Alterio). Shock (The Condor and the Puma), documentary theater produced by the National Dramatic Center In collaboration with Check-in Productions, could be seen in the Valle-Inclán Theater between April and June 2019.

Furthermore, the CDN has garnered two other nominations in Max Awards: Signed Lejárraga she opts for the best theatrical authorship (Vanessa Montfort), while Tenant (Numancia, 9, 2ºA) She is nominated for Best Revelation Authorship (Paco Gámez).

The gala of the XXIII edition of the Max Awards for Performing Arts will be held predictably next September 7 at the Cervantes Theater in Malaga.

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Colloquium with Remedios Zafra and Alfredo Sanzol: «Recovering enthusiasm (so that it ceases to be the artist's sole livelihood)»

Next Thursday, May 14, the director of the National Dramatic Center, Alfredo Sanzol, will meet the writer and essayist Remedios Zafra, Anagram Essay Prize 2017 for The enthusiasm, an already essential book in which he addressed the problems of precariousness and creative work in the digital age. The colloquium will take place on our channels Youtube and Facebook.

It will be a unique opportunity to address issues such as the coexistence between the virtual and art, the future of theater as a paradigm of the non-digitizable, the stage community versus networked individualism or the future relationship of the cultural worker with the public and with the public . "They are not the creators of the time," writes Remedios Zafra in The enthusiasm– Those who allow themselves to be rocked like puppets for the times they live, but those who are able to face their difficulties and make them thoughtful, even make them shared.

Remedios Zafra is an essayist, professor and researcher. He guides his work to the critical study of contemporary culture. He has obtained, among others, the Anagrama Essay Prize, the El Público Literature Prize, the Málaga Essay Prize, the Carmen de Burgos National Essay Prize and the Meridiana Culture Prize. His essays include The enthusiasm. Precariousness and creative work in the digital agel, Eyes and Capital and A connected own room.

Alfredo Sanzol is an author and theater director, with a degree in Law from the University of Navarra and in Stage Direction from RESAD. The leadership of the CDN, as of January 2020, represents a new step in a trajectory in which titles such as playwright stand out as Yes but i am not, On the moon (Award for best theatrical author in Spanish 2013), Super days (Best Theater Author in Spanish 2012), The magical calm, Tenderness (XII Valle-Inclán Theater Award) and Bravery, among others. Sanzol was distinguished in 2017 with the National Prize for Dramatic Literature for his work The breathing. He has also received the Max Prize for Performing Arts five times.

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Masterclass with Lola Arias

From the National Dramatic Center we are going to open a digital channel that reflects on the immediate future to open the door to what is to come. For this, we will propose weekly, together with projects by different creators, a series of activities that help us think in common and in depth: debates, meetings, videoconferences, etc. Stories that unite us digitally, until we can meet in the same space and time.

With the title “On the lives of others. Theater as a remake of the past ”and responding to these and other questions, the actress, director, author and performer Argentine Lola Arias will offer a talk about her career in the field of documentary art throughout the last decade.

This is the first installment of our new section “Masterclass”, a series of live meetings, where we will invite creators and thinkers to talk about the future of the performing arts and about our future.

The appointment is next Tuesday, May 12 at 7:00 p.m. live on our social networks. Put it on the agenda!

More information about the Lola Arias Masterclass, HERE

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Virtual reading club on “Man Up”, by Andrea Jiménez and Noemí Rodríguez

The National Dramatic Center and the Instituto Cervantes Library Network have organized in this month of May a virtual club for reading the work Man up which will feature the participation of Andrea Jiménez and Noemi Fernández, authors of the testo, playwrights, stage directors and founders of the company Theater in Vilo.

We invite you to participate in this virtual club aimed at social reading and the online debate that will have these operating dates:

– Duration of the reading: May 1 to 29

– Online reading period: May 1 to 13

– Reading activity: May 14 to 29

– Meeting with the authors (chat): May 28

– Completion: May 29

The show could be seen in the Francisco Nieva Hall of the Valle-Inclán Theater in Madrid from December 11, 2019 to January 12, 2020. The directors of Teatro En Vilo set themselves the challenge of unmasking the traditional account of masculinity and its referents through irony, irreverence and absurd humor.

At a time when traditional masculine codes have become obsolete and new ones are yet to be elaborated, Man Up wants to be a space from which to question cultural assumptions about what it means to be a man and a place from which to imagine new ways of be.

You can find more information about the virtual reading clubs of the Instituto Cervantes Library Network HERE.

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Ministerio de cultura y deporte. inaem

  • TicketsInaem is proceeding to return tickets for shows not performed.
  • In the case of tickets purchased online, the refund will be made automatically the day after the exhibition date for which the tickets were purchased.
  • On the other hand, those locations purchased by phone or at the box office will be returned when the activity in the theaters resumes, at the same box office where the suspended activity was held.
  • In the case of subscriptions: the proportional part corresponding to the tickets for shows that have not been performed is returned, depending on the sales channel as described above.
  • Subscribers who have not received the refund according to the deadlines, can contact our customer service:
  • If you have bought tickets online and have not received the refund according to the deadlines, you can contact Inaem Tickets: 985 67 96 68

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Different authors and authors will write and read a creative text about what they see from their window. The podcast will be uploaded to the CDN's social networks and will remain in our Soundcloud.

  • Maria Velasco

The next Wednesday, April 22 on our channel Soundcloud, the playwright María Velasco invites us to listen to a new sound creation about what she can contemplate from her window in these days of confinement.

  • Alfredo Sanzol

From my window

I talk to my mother every day. She is eighty-one years old, and my mother relays every day to my aunt Esther and my aunt Carmen how we are. The three live alone, and well, in these circumstances, living together helps, but they have had to be alone, like so many people in this country, almost five million, according to statistics, and of those five million, forty-two percent, that is to say two million, is over sixty-five years old, like my mother and my aunts, and of those two million seventy-two percent, that is, one and a half million are women like my mother, my aunts, and the mother of a friend who turned years ago a few days ago. My friend told me that it was very sad to imagine his mother spending her birthday without anything special, and especially without seeing anyone, and especially without having anyone's contact. She, like mine, are people who need special protection, but a sincere and loving embrace of twenty seconds awakens the hormone of oxytocin and produces a therapeutic effect on the body and mind, protection that is also necessary, as well that my friend came up with a plan and put it into practice. He went to his mother's house, opened the door, and at the entrance he took off all his clothes and put them in a plastic bag. He took out a bottle of hydroalcoholic liquid and fed it all over his body without leaving a single piece of skin. He put on his mask, and so, as his mother brought him into the world, he said: Mom, I can hug you now. They gave each other a big hug. It lasted more than twenty seconds. I imagine it would be exciting. My friend did not give me details because he is from the north, but he did tell me that the two were happy and that with that smile on his face he dressed again and left. Well, this plague is producing stories that just a month ago we couldn't imagine, and this one, the one about my friend's mother's birthday, is the one I have seen from my window. A hug to all.

You can download the text of Alfredo Sanzol in PDF HERE

  • Pablo Messiez

From my window

About a year ago, I bought a tree.
A tall, thin tree with a few leaves, somewhat sad.
He looked like a Giacometti. Godot's Tree.
I was working on the Happy Days version, so I thought it was good company. And that it must be nice to write under a tree.

As the days went by, the leaves seemed increasingly languid to me. More sad. Having been dark green, I began to pale and I became concerned about the health of the tree. For the relevance of the idea of ​​bringing him home. Light was not lacking. Neither attention. But what if you were in need of other things? The field, the sky, things that do not enter the houses. I was overwhelmed. I Googled (in my life, the previous two sentences usually go one after the other and in that order). I read that it was a drunk stick and that the care and light I was receiving were adequate. Would it be a feeling of mine then? Would sadness be mine?

Leaves began to fall. They were few, so it was a period as distressing as it was brief to see one by one falling the attributes that made it more than just a stick in a pot.

In a few days, the lines were bare. The long, diagonal trunk and its final bifurcation in four branches pointing to the ceiling, like the stunted fingers of a pleading hand.

I spent hours looking at it. Would that still be a tree? Would there be life in it? I couldn't help but see those unfolded branches as a request. But of what? Of air? Of heaven? I took it out on the balcony. And I kept watering and caring for him and looking at him from my desk every day, thinking: Is that still a tree? Will there be life in it?

Time passed. The jobs and the days. And the virus came into the world.
Very soon I had to be in bed with a fever and a cough. Now seeing another window, the one in my room. It is without a tree or plants.

Now I was languishing. There was no doubt. Desire, gone. The body sad. Like a tree without leaves. From my convalescence I saw the enthusiasm in networks of people doing things (how much enthusiasm, how many things). He listened to the occasional applause (how much discipline) and hoped that the hours would pass, that the boredom would pass, that something would happen.

And it happened. Life, which moves (how lucky).
And it all made sense again like so many other times after so many other penalties.

And I went down to the desk. And I looked out the window. And I saw the bare tree again. To the sun.
And then I noticed the tips of the branches unfurling in tiny new ways.

I went out onto the balcony to get a closer look. They were leaves! Future sheets. He was alive! The tree. It was running its course. It had not been death. It had been fall. You can't always be flourishing. It is time to dry. Losing the sheets. Join forces. Let it pass.

"All greenery will perish." But also, it may be again.

From my window, Calle Atocha is bare, like my stunted tree looking at it.
And I cannot become a Buddhist (which I would love but it doesn't come out) and look at all this death without judgment. I miss people. Noise. The touch. The things of being together. I miss the leaves on the tree.

But I look at it and see that it continues there, growing. Without caring or ceasing to care about their growth. Letting what happens happen.

I have a lot to learn.

You can download Pablo Messiez's text in PDF HERE

  • Clàudia Cedó


I get up
I tidy up the house a little.
I do my exercise routine
I shower
I prepare a good breakfast
And I start to write with a coffee in front
It's half past nine
She still hasn't woken up
When he gets up there will be boobs, and naps, and incomprehensible chatter that makes you laugh
When I get up I won't be able to write often
I will do it between takes, when he falls asleep, when he wants to stay in the hammock alone
When he gets up, my work will take a second place.
I will see it from afar, like the mountains in the background, which turn blue
And the ones in front, the closest ones, are green and clear, as more important.

But one day there is someone who coughs on someone else.
And that second someone goes to the market and coughs on the food that many more buy
And so a virus begins to spread that will eventually reach my small town, forcing all of us to seclude ourselves in our homes.
Also to him
Then a new day will begin.
When she gets up there will be boobs, and naps, and incomprehensible chatter that makes you laugh
But I will not stop writing
Because I will not be alone with the girl.
He will be there, who will be able to see her wake up every morning.
That you can enjoy and take care of it
And my work will once again be a mountain in front of me.
One of the green and sharp
One of the important ones.

I realize the privilege of being able to live this confinement like this.
Of not having to share space with who treats me badly
Of having a space to share with someone
Of having orders to write
and a job that I can do from home.
Not to be sick or vulnerable to be.

But this confinement has also helped me to realize how necessary equality is between paternity leave and maternity leave.
Because having your own room is important.
But also it is to have time to enter it.

You can download the text of Clàudia Cedó in PDF HERE

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Learn with our content for the educational community

Full recording of the live with Nando López on April 16 on our channel Instagram

This week the CDN proposed within its meetings and proposals for students a talk with the playwright Nando López, author of "# malditos16". We encourage you to read this work or to see it beforehand so that you can ask its author questions in the live talk that will take place on our Instagram.

“Sometimes we need to go back to the places where we break. Walking the path back to the teenager we were and looking straight at our wounds, those that open up when we are forced to choose who we want to be. ” ‘Escritos en el scene’ put in 2017 on the boards a sincere and necessary text, “# malditos16”, by Nando López, which Quino Falero was in charge of directing. The press described him as "a trigger for dialogue between young people, parents and educators" (El País) and as "a therapeutic mirror against suicide, bullying or homophobia" (El Mundo). The writer has several titles in his bibliography that address a contemporary vision of the problems that affect adolescents, and he regularly gives talks at institutes.

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This section of #LaVentanaDelCDN will collect emblematic functions seen in the CDN through the eyes of its creators, who will present the videos exclusively for the public.

  • Declan Donnellan and Winter's Tale (A look at the world)

We highlight a memorable montage of Cheek by Jowl With which the international company led by Declan Donnellan and Nick Ormerod visited us in 2016: Shakespeare's “Winter’s tale”. This co-production in which the CDN participated in its series ‘A look at the world’, is available in open and with subtitles in Spanish until April 27.

Donnellan, director of the piece, of which he points that "precisely it is about a forced separation and an encounter, which is a reflection of our days", he wanted to send a special message to the Madrid public and a reflection on "the vital importance of being together again in public spaces, such as the theater".

You can enjoy the whole show HERE.

  • Alfredo Sanzol in the lecture series "Poetics and theater" of the Fundación Juan March

The Juan March Foundation Five years ago he dedicated one of his lecture series on ‘Poetics and Theater’ to Alfredo Sanzol, current director of the CDN.

In these sessions, where Sanzol explained his work process, his influences or the relationship between his life and his work, a conversation is included with the theater critic Marcos Ordóñez, who said of him: “Alfredo Sanzol has the gaze of a child very wise, understanding and mocking, perpetually missed and amazed. ”

On his work, in 2015 the critic valued: “Sanzol has been consecrated with a spectacular quintet –Yes but i am not (2008), Super days (2010), Delicate (2010), On the moon (2011) and Adventure (2012) – which could well be added The magical calm, his last comedy, which premiered in the fall of 2014 ″. Since then, other successful titles have increased his personal bill of authorship and direction, among which stands out The breathing (National Prize for Dramatic Literature 2017), and Tenderness (ADE Award for Direction 2017, Valle-Inclán Award for Theater 2018, Max Award for Best Theater Show 2019).

In the Theater Many of the Sanzol mounts are available from the CDAEM. We invite you to discover them

All conferences are available HERE.

  • Marta Pazos and the Summer night Dream

From the hand of Marta Pazos, artistic director and playwright of the Voadora company, we remember Summer night Dream.

An irreverent, fresh and lysergic proposal that revisits the Shakespearean classic from a new and risky perspective, the company's unmistakable hallmark (Premio da Crítica de Galicia en 2013).

Transiting themes as current as sexual desire or gender identity, his staging did not leave anyone indifferent. If you were lucky enough to see it at the Valle-Inclán Theater in February 2018, or in one of the many squares on its tour, the acid colors, the dreamlike images and the hooligan songs (unforgettable "Sacks of hormones") probably ring a bell.

The complete montage of the show can be seen HERE.

  • Andrés Lima and Urtain

We remember a montage that made history in the CDN: Urtain, by Juan Cavestany, directed by Andrés Lima (National Theater Award 2019 and one of the founders of Animalario).

The play told the tragic story of Spanish boxer José Manuel Ibar "Urtain". “Urtain was used as a symbol, as a brand. That of the bull, that of the cognac, the Spain ‘with two balls,’ the race Spain that Franco liked so much, ”according to Lima.

Urtain it premiered at the Valle-Inclán Theater in September 2008, to which it returned in March 2010. That year it swept the MAX Awards, winning 9 of the 12 nominations it had. It is one of the most remembered interpretations of Roberto Álamo, who played the ill-fated boxer.

You can enjoy the CDN trailer, of the TV adaptation made by RTVE's ‘Estudio 1’ and of the complete work, offered by the CDAEM.

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