<div id="articleAbstract"> <div> <p>La Fura dels Baus has gone across the Iberian Peninsula performing&nbsp;Accions&nbsp;and it has reached Argentine. People has thought that the group was bom with this show but that is not true. We should know its history. La Fura dels Baus appears in 1979 and in 1982 is reorganized. Its first actions have taken place in the streets of Sitges in 1983. Nowadays La Fura is composed of ten members and they define themselves as a theatre-music cooperative. One of the writings signed by the group is entitled “Manifest canalla” and reads as follows: «every action is a practical exercice, an agressive performance against the audience's passivity».&nbsp;Accions&nbsp;is a show which has been constructed in an empiric way: its plasticity is a combination of both painting and sculpture. They have never started from an academic idea to resolve plastic questions. Pyrotechnics are an important element in the show. In&nbsp;Accions&nbsp;there is neither actors nor characters but people perfoming actions. You can only talk about it in full details after having seen the show several times.</p> </div> </div> <div id="articleFullText">&nbsp;</div>...

<p>I cannot talk about history out of modesty. Either an admissible experience or a foolishness La Pipironda has got from 1959 till 1966 a stable staff. I have not been the only producer: Florenci Clavé has also produced ...

<p>The “pipirondos” group has been quite great in number. We used to perform at the bars of some districts. Nobody has ever got away from playing a part; I have played the part of El Candel in&nbsp;La batalla del Verdún&nbsp;by Jose M. Rodríguez Méndez. La Pipironda, under the direction of Àngel Carmona, never dies. Its beginning goes back to 1957 with the creation of the Teatro Popular de Sala y Alcoba, by Àngel Carmona and Florenci Clave, and the meetings which some friends used to held at various bars in Barcelona once a week. A printed sheet called «La Pipironda» began also to be published. In its first phase the group’s repertory consisted of&nbsp;La estratosfera&nbsp;by Pedro Salinas,&nbsp;Navidad&nbsp;by Gregorio Martínez Sierra,&nbsp;El mestre de minyons&nbsp;by Feliu i Codina and the&nbsp;Auto de la donosa tabernera&nbsp;by Jose M. Rodríguez Méndez; this last play has been performed more thana thousand times. From 1959 till 1967 the group is in its fullest swing. In 1961 they go on tour to Vitoria, Baracaldo, Mieres, Oviedo, etc. Àngel Carmona is still alone and in1980 he takes up again the theatre with a&nbsp;King Lear&nbsp;at the Cafe Central in Girona street. Afterwards there have followed&nbsp;Lysistrata&nbsp;and&nbsp;Amor de Don Perlimplin con Belisaen su jardín.&nbsp;If I had money I would become a Maecenas and would say to Àngel Carmona: take up the theatre, only the theatre, as you like, don’t do anything else.</p>...

<p>The theatre cannot get free of its relationships with anthropology, semiology, psychoanalysis, audio-visuals, etc. The solution is not, despite the opinion of some producers, stagings which cost several millions of ...

<p>He would live in Barcelona and visit the districts occupied by marginal immigrants; then he would go over the districts of the autochthonous population. Madrid has not got such sharp contrats despite the great number of foreigners who live there (Negros, Chineses, etc.). Angel Carmona set up a small group of theatre called La Pipironda which at first was composed of non-Catalan people. Its first name was Teatro de Sala y Alcoba. Carmona would try to look for our roots and harmonize the fact of being native of Barcelona and Catalan with the Spanish traditionalism. We would refuse cosmopolitism as a compulsory model. I began to collaborate early with the&nbsp;Auto de la donosa tabernera.&nbsp;Politics would mixed up with the theatre and the police began to rush into the performances. I still wrote another play,&nbsp;La batalla del Verdún,&nbsp;on the occasion of the 5th anniversary of La Pipironda. On remembering those times, you are amazed to see that Carmona has vanished and the homage he deserves has never been rendered to him. The independent theatre has followed another way, that of the “internationalism”, which differs from the one we would support. Now we can see the results: the theatre is going through a bad period.</p>...