Àfora is the agora of Focus, a hub of thought, an area of reflection and activities that, based on the scenic experience, has the intention of influencing the artistic life , cultural and social, in the territory of our influence.

We have 5 areas of action: The Romea Foundation, Àfora Edicions, La 5a Paret, Platea 618 and Spectators

  • Dilluns 23 de febrer de 2026, 19:00

    Romea Foundation - Monday, February 23, 2026, 7:00 PM

    With a shameless and irreverent gaze, alongside the gallery of Hamlet from “Seven Ways of Being Hamlet,” Othello from “Periphery Othello,” and Lear from “Burger Lear,” and at the invitation of Félix Riera, director of the Romea Foundation, I add the unknown John Cade to create a one-hour monologue in the pure style of Brechtian operettas and to approach the mystery of Cade, an unknown figure at the court of Henry VI. Do I love John Cade?

    Henry VI, William Shakespeare’s first youthful success, is a historical drama centered on a weak king caught in a political game and in the War of the Roses — the white roses of York (nothing to do with the ham) against the red roses of Lancaster (nothing to do with cosmetics). And in this struggle for power, a populist used by Richard Plantagenet, Duke of York (the one with the white rose), inflames the popular classes and, freed from his pact with the nobles, invents an immaculate past, a rebellious present, and an impossible future in which he imagines himself crowned King of England.

    WHO IS JOHN CADE? A visionary? An ignorant man? A revolutionary? A fraudster? A manipulator? A bloodthirsty impostor? A martyr? An instrument of Richard, Duke of York? All at once? None of the above?

    Barcelona
    Teatre Goya
    February 23
  • PICTURES AT AN EXHIBITION

    Romea Foundation - Monday, March 30, 2026, 7:00 PM

    Inspired by Modest Mussorgsky’s suite Pictures at an Exhibition — a work that invites us to wander through an imaginary museum — we propose an immersion into everything that remains unseen yet makes a contemporary art exhibition possible.

    How is an exhibition built? What pieces — and which professionals — shape this fascinating mechanism? From curating to design, from lighting to communication, from logistics to the art market… always with the artist at the center.

    A conversation led by gallerist Llucià Homs, with the participation of Carles Guerra (curator), Anna Alcubierre (design, lighting, signage), Cristina Salvador (communication), Rafael de la Hera (transport and insurance), Carles Taché (gallerist), and Julio Vaquero (artist). An opportunity to discover the pictures behind the pictures.

    Barcelona
    Teatre Goya
    Monday, March 30, 2026
  • WHO WANTS THE LOVE OF AN EMPEROR?

    Romea Foundation - Monday, April 20, 2026, 7:00 PM

    As part of the 5th Wall of Àfora Focus series, we present a new session in which Carlota Gurt examines Memoirs of Hadrian by Marguerite Yourcenar in an attempt to understand what the emperor loved — and, above all, how he loved. Through readings of excerpts from the novel and digressions on love as a theme, in this performative lecture Gurt seeks to elucidate the ways in which power distorts love, or perhaps even renders it impossible.

    Barcelona
    Teatre Goya
    Monday, April 20, 2026

A dialogue between contemporary art and the performing arts.

The Romea Foundation investigates artistic forms to activate terms such as fervor, passion, the sublime, beauty or inspiration that paradoxically cause discomfort. A discomfort that manifests itself when we show ourselves sensitive to the world and reveal our vulnerability. It could be said that our effort seeks to summon ghosts, as Joan Fontcuberta did with the artist Margarida Xirgu, or Eduard Márquez when he tried, in a certain way, to overcome his ghosts to advance his literary work.

Romea Foundation website

The intersection wall between the theater and the street, between the stage and society.

In the theater world, the virtual wall that separates the stage from the spectators is known as the fourth wall, and for a long time the actor-spectator interaction has been called “breaking the fourth wall”.

La 5a Paret is a meeting point that will allow us to capture concepts that emerged from the stage and take them to the field of philosophy, to analyze them from different angles and formats.

Àfora Focus Edicions is the publishing imprint of Focus, created to ensure the lasting legacy of ÀFORA’s activity and to uphold the conceptual and aesthetic significance of the selected texts and creators.

Within Àfora Focus Edicions, you’ll find collections such as Pre|Ocupaciones, a publishing format born to channel Focus’s need for reflection on certain topics discussed in internal debates; or Quaderns de Notes, inspired by the tradition of quote-based books/explorations, aphorisms and literary maxims—books where everything is said through quotations and which serve as creative sources for actors, actresses and playwrights of Catalan and Spanish theatre. Notebooks made to browse, read, wrap oneself in, and let go.

The Escenaris collection brings the most notable texts of contemporary playwriting to the editorial format, including the adaptation of John Milton’s Paradise Lost, written by Helena Tornero and illustrated by Paula Bonet, Safo by Cristina Rosenvinge, and Immunitat by Jordi Casanovas, among others.

Àlbum de teatre is a publication that offers readers a visual journey through great moments lived by actors and actresses on the stages of the Focus Group’s theatres.

Àfora Focus Edicions, together with Comanegra, also promotes the Santa Eulàlia Novel Award of Barcelona, a prize that has already become one of the leading literary awards in the Catalan language. It rewards unpublished works in Catalan and promotes literary creation linked to the city of Barcelona by fostering local narrative talent.

All books published by Àfora Focus Edicions are produced and printed in Catalonia.

Aerial view of Gran Via shopping area in Madrid, Spain.

A connection between professionals in the theatre sector in Barcelona and Madrid.

618 are the kilometres between Barcelona and Madrid, the two theatre centres of the State. We want to take advantage of this distance to foster a closer relationship between professionals in both cities, creating a permanent circuit and channels of personal relationship, which allow for increased synergies aimed at increasing co-participation and creative and artistic exchange.

PLATEA 618 will feature meetings between artists and creators, and between managers and producers, to debate atavistic concerns and new challenges.

GRANSTEATRERUS

#gransteatrerus is the social project of the Focus Group aimed at helping combat unwanted loneliness among the elderly and encouraging active aging through theatre and culture.

#gransteatrerus seeks to foster generational bonds between older and younger people using theatre as a connecting thread and shared interest, from both audience and user perspectives.

Launched in the 2023–2024 season, #gransteatrerus has already become a stable initiative hosted in the Focus Group’s theatres—Teatre Romea, Teatre Goya, Teatre Condal, and La Villarroel—and also includes complementary activities such as meetings with renowned actors from the Catalan stage.

Joining #gransteatrerus means experiencing theatre like never before: sharing emotions, reflections, and experiences across generations.

More info

AUDIENCE COUNCILS

The theatres of the Focus Group—Teatre Romea, Teatre Goya, Teatre Condal, and La Villarroel—are made up of active spectators who engage in the day-to-day life of our theatres, contributing ideas, insights, and opinions, serving as ambassadors, and collaborating in the dynamics of our stage spaces.

This initiative is the theatre-based embodiment of the Congress’s core mission: to give audiences a voice and learn firsthand about their desires.

 

INTERNATIONAL THEATRE SPECTATORS CONGRESS

The International Congress of Theatre Audiences, held biennially in 2022 and 2024, is the only international gathering by, for, and about theatre spectators, because we believe that audiences are both art and a fundamental part of the theatrical experience.

The Congress is a unique opportunity to gain firsthand insight into the needs, concerns, and beliefs of performing arts audiences. It was created with the goal of bringing spectators together so they could reclaim their role in the performing arts value chain and rethink their future position.

The two editions of the Congress gathered nearly a thousand registered attendees, and from these events emerged the Theatre Spectators’ Manifesto, crafted from the ideas, desires, hopes, and aspirations of the 50 international spectators invited, coming from 25 countries across 5 continents.

Website of the International Theatre Spectators Congress

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