Are there figures in Spanish theatre history that you feel stand out forany particular reason?

Lope de Vega, [Pedro] Calderón de la Barca, [Ramón Maríadel] Valle-Inclán and [Federico García] Lorca are key figures, notjust in Spanish dramatic literature but also Spanish theatre. Each one of themcreated texts of universal value and of singular and lasting theatricalpoetry.

As well as presences, there is a list of absences. In my prior list I could notunfortunately include Cervantes. If his dramaturgy had reached the heights ofhis narrative – I’m not only thinking of El Quijote [DonQuixote], but also for example El coloquio de los perros[Dialogue of the Dogs] – later Spanish theatre would have been richer inimagination and thought.

Do you think there are ‘types’ of theatre which are more easily exportedabroad? Is there a reason for this?

Every day there are more shows conceived for export, particularly tointernational festivals. Their creators opt for content and form which isinstantly accessible whether in Melbourne or Bogota´. In many cases, we aredealing with a rootless and processed theatre, rather than a cosmopolitantheatre.

At the same time, there are still plays and shows that manage to cross borders,languages and traditions because they are able to show us the universality ofour condition, the dreams and nightmares of every human being. This explains whyLa vida es sueño [Life is a Dream] by Calderón,Fuente Ovejuna by Lope or La casa de BernardaAlba[The House of Bernarda Alba] by Lorca are staged and understoodall around the world.