November 5-8, 2020

Júlia Barbany Arimany


Thursday, November 5th at 8pm
Friday, November 6th at 8pm
Saturday, Novemver 7th at 8pm
Sunday, November 8th at 8pm
Duration: 55 min
Tickets: 12 euros ONLINE // 15 euros BOX OFFICE

Please be aware that if you think you may be returning home between 10 and 11pm at night, you need to be in possession of an own-responsibility certificate before coming to Antic Teatre. You can obtain one through the following link:

Devised and performed by: Júlia Barban
Outside eye: Jordi Fondevila
Music: Pol Clusella
Karaoke video: Alex Macias
Lighting and gadgets: Oriol Corral
Technician: Sofía A. Martori
Costume: Mariona Signes
Photography: Roc Pont
Video: Andrea Cuéllar, Alberto Dexeus and Lluís Margarit

Co-production: Júlia Barbany and Antic Teatre


In the sequence of the measures approved by the Generalitat de Catalunya derived from the SARS-CoV-2 coronavirus, Antic Teatre – Espai de Creació postpone OFFICIAL PRESENTATION OF THE GADGETS FOR OUR SALVATION.

As a passionate fan of dystopic-futurist comics and Isaac Asimov’s apocalyptic tales, I have been fascinated by the end of the world since I was a little girl. “If I ever die, I’d like it to be the end of the world, everyone at the same time, watching the show, unconcerned with what comes after, as nothing will come after… If I die in the apocalypse, I’ll be very important!” I’d say in the kitchen as I chopped runner beans with my mother.

Does being the generation of the end of the world guarantee a historic transcendence we’re not prepared to give up?

Júlia Barbany Arimany is an actress and a graduate in Dramatic Art from the Institut del Teatre. Her studies include LAPS (Live Art and Performance Studies) at the Helsinki Theatre Academy, where she presented some of her first solo work

She is a member of Colectivo Las Huecas with whom she presented Proyecto 92 and is currently working on a new piece, Aquellas que no deben morir.

Her work is ironic and seeks out the limits of performativity that she calls “soft”, using performed conferences as a way to distort both theatre and regulated academic rhetoric.

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