The conference on the visibility of contemporary Spanish theater, showcased through the XXXI Exhibition of Contemporary Writers, invites thoughtful consideration of how plays are perceived and shared. Theater is read in many ways, yet the central aim remains the portrayal of theatre itself — and in some cases, the work could have appeared earlier or later than expected.
The central dilemma is timeless: to act or to refrain. What nourishes the soul more, to draw the pen despite uncertain outcomes, or to keep silent? The first option holds appeal, perhaps because possibilities exist even when they seem fragile. Publishers are not always easy to reach, and doors to the market can feel closed. It matters little what is written when the route to publication is blocked, and similar challenges surface when a script is routed through someone else’s production.
Patrons settle in, menus in hand, while an uninvited guest arrives and there is no seat left. The call is to roll up sleeves, set up the installation, and seek support. Those with the patience to ship originals to different venues or to secure the right resources for power will find a reward. The path is clear: publish broadly, and represent with purpose.
Promoting and disseminating new works or unreleased theatre across genres, trends, and themes can prove an arduous task. It is not only about staging for theatre’s sake. It is not hard to lift a work into the air, yet it is difficult for it to land gracefully. Some pages of contemporary Spanish theatre go unseen, carrying consequences beyond the obvious.
The challenge is not new in this square of discourse. This topic was discussed as far back as 1977 and earlier. A telling example is found in an article by the veteran writer Jerónimo López Mozo from September 2001, a journey through space titled “The invisibility of the current Spanish theatre,” accessible through the Miguel de Cervantes Library’s Virtual platform. The observation endures.
López Mozo notes that health is sometimes measured by box office gains rather than by the quality of unspoken performances. He adds that global figures can mask the richness of theatrical formulas and the real level of audience acceptance.
The threat falls primarily on a portion of theatre that exists outside the prevailing mood of triumph. Over the years, some playwrights appear sporadically in alternative circles, while others are conspicuously absent. The narrative continues in similar fashion, as with the lingering question of the enduring or vanishing presence of a figure like Prince Hamlet.
It is true that many writers exist, and revealing every detail is not easy. The reality includes writing, producing, directing, and acting, a spectrum that extends beyond the present moment. This approach has evolved into what is almost the only viable option, integrating these roles into the creative process, a pattern that repeats in festival programming.
When creative control is in place, it can spur exploration and the emergence of ideas that might otherwise remain in shadows. There is a tendency in less commercially driven or stage-focused research groups for dramaturgy to move from private reflection by the author to collaborative, collective effort. Yet authorship remains essential, while the flexibility and teamwork that classical masters like Shakespeare and Molière demonstrated guide the field forward. The overarching aim is to nurture talent that drives cultural and social advancement, balancing the power to accept with a broader openness to new voices.
The Contemporary Theater Exhibition organizes its program in Alicante, featuring four thematic tours through the 11th hour: Against Power, Between Generations, To Meet, and After Readings.