July 7-10

Las Huecas

Aquellas que no deben morir

L'Antic al Grec 22
Thursday, July 7th at 8 pm
Friday, July 8th at 8 pm
Saturday, July 9th at 8 pm
Sunday, July 10th at 8 pm
Duration: 60 min
Tickets: 12 euros ONLINE // 15 euros BOX OFFICE

Creació: Col·lectiu Las Huecas

Actants: Júlia Barbany, Esmeralda Colette, Núria Coromines, Andrea Pellejero

Tècnica: Sofía A. Martori

Composició d’espai sonor: Adrià Girona i Sofía A. Martori

Disseny de llums: Ana Rovira

Artefactes: Dani García

Ass. processos de dol: Júlia S. Cid, part de Som Provisionals

Ass. funerari: Núria Isern

Producció: Esther Fernandes

Fotografia: Roc Pont


La Infinita de l’Hospitalet (L’Hospitalet de Llobregat)

Antic Teatre (Barcelona)

Festival TNT (Terrassa)



An Antic Teatre project with support from GREC 2022 Festival of Barcelona

Supported by:

“Those that should not die” is a project that approaches the idea, management and economy of death. In an hedonistic and hyperpositive society that glorifies youth and delays the reality of finitude, we proffer to explore the social and political structures that govern death in order to enable tools that disrupt the dominant speech. At the center of the creation of the project ran into a global paradigm shift that shaked us in all fields of life.

The global pandemic that shakes the foundations of Western societies, has generated an inoculation of collective panic in relation to a neglected maxim: we were not eternal. Our proposal is to configure a scenic hypothesis that mocks panic and the commercialization of affections, through retaking the language and dynamics of ritual, questioning the institutionalization of death and also, therefore, of life itself.

Las Huecas was born in 2016 as a desire to carry out performed creations through collective practice. As a group we have undergone various identities: ethnographic researchers, punk band or fanzine artists, although we are basically four actresses, a technician and a producer. We have performed in public spaces, open lots, theaters, alternative concert halls and Instagram streams. That is why the dialogue between the frames of representation and the performative decisions are very important for us. In this sense, we work with a biographical body which is necessarily linked to a political body and, therefore, with understanding of our condition as privileged subjects on the stage. 

We stand by the recognition of our own material conditions as an ideology, betting on an aesthetic of distancing, of estrangement from reality through an unstable way of being-in-stage, exposed to the precariousness of the body and its circumstances, exposed to the open game of theatrical codes, which we could call as poeticization of failure or permanent withdrawal performance.

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