"A central idea dominates all the show: The omnipresence of the pianola (La Lligotèria) over the scenary, with all the symbolic load that you want to give to it. However, and linked to that, two more characteristics define L'esplèndida Vergonya: its strong fragmentarism and a certain autobiographic statement, more evident here than in any other work, introducing objects and elements of that is paradoxically denied, memory." (Josep Ruvira)
"It's now when I'm feeling most the sensation of having a pentagram over the stage. The shows pretends to have a great precission in images and rythm. I want it so precise that everything has something of musical writing" (Carles Santos)
 

 

 

L'Esplèndida Vergonya is a work where every kind of hierarchy or structure is radically denied. Language, theatre and music suffer a desarticulation like that of reality during dreams: The small things become big, and sailboats cross an stage in which all the objects appearing during the different scenes are mixed for the whole performance.