Juan Mayorga, a Madrid-born playwright who emerged as a leading voice in contemporary Spanish theatre, has long been recognized for the depth and vitality of his work. In recent years he has earned a string of honors that underscore his influence in the national and international scene. His leadership roles include directing the La Abadía theater and his election as an Academician of Language, credentials that accompany prestigious prizes such as the National Theater Award and the National Award for Dramatic Literature. The Princess of Asturias Award for Letters in 2022 further cemented a remarkable career that already boasted multiple Max prizes along with a celebrated early recognition in theatre. This latest honor adds a significant chapter to a rich and varied curriculum, and marks another milestone in a journey that has consistently fused critical insight with a bold creative vision, while attracting admiration for a body of work that speaks to the times and to enduring human concerns. The prize was proposed by Rafael González Cañal, a professor at the University of Castilla-La Mancha and the director of the Almagro Classical Theater Conference, who has long championed the writer within the Spanish literary community.
The jury praised Mayorga for the immense quality, the depth of critique, and the strong intellectual commitment evident across his plays. They highlighted how his work blends action, emotion, poetry, and thought, and noted a philosophical and moral preoccupation that elevates theatre beyond mere performance. The resolution described Mayorga as a transformative force in the drama landscape, one who expands the tradition of Spanish theatre while projecting it forward as a theatre for the future and a theatre that upholds the fundamental dignity of the human condition. From the outset, the prize committee acknowledged his ongoing contribution to pioneering a refined form of stagecraft that challenges audiences and broadens the scope of what theatre can mean in society. His work is seen as a daily invitation to reflect on human life, social issues, and ethical questions, presented through a theatre that remains accessible yet intellectually rigorous. The recognition thus celebrates not only past achievements but also the enduring relevance of his dramatic inquiries.
Mayorga’s professional trajectory began in 1989 when he secured second prize at the Marqués de Bradomín competition with his debut play, Siete hombres buenos. That same edition rewarded the Asturian playwright and performer Maxi Rodríguez for El color del agua, signaling a fertile moment for a generation of new voices. In 1993 Mayorga helped found the Teatro del Astillero, joining forces with Raúl Hernández Garrido and collaborating with José Ramón Fernández, Luis Miguel González Cruz, and Guillermo Heras. The company became a crucible for groundbreaking work, and Mayorga contributed several pieces developed within this vibrant ensemble before moving on to new projects. In 2006 he departed from the collective and launched La Loca de la Casa, a company later known for producing the celebrated Reikavik and other provocative titles. That period cemented Mayorga’s reputation as a playwright who blends bold invention with a commitment to social and philosophical inquiry.
A strong and enduring link with Asturias emerged through the Palacio Valdés theater, where Mayorga introduced multiple works to local audiences. His ties to Avilés remained influential, culminating in a notable appearance on April 30 last year when he presented El Golem at the Niemeyer Center. In a prelude to the premiere, Mayorga said in an interview with La Nueva España that the theatre should not seek merely a platform to support its own content. If a philosophical dimension lies in the text, it is not something that must be explained outright; instead, it operates as a philosophy embedded in the momentum of the drama itself. He described his approach as one where theatre invites audiences to reflect, to think, and perhaps to question the assumptions that shape everyday life. This philosophy shapes his stagecraft, making his theatre a place where ideas and humanity intersect, provoking thought without sacrificing emotional clarity. The relationship with Asturias thus remains a vital thread in Mayorga’s ongoing quest to fuse intellectual depth with accessible storytelling, inviting viewers to engage with perennial questions through vivid, living characters and scenarios.