1977 LI XANG, for his outstanding role over many years as a Catalan illusionist.

1977 EL REY DE LA MAGIA, a Carlos Bucheli, for having ensured the continuing presence of the 18th century Barcelona establishment El Rey de la Magia, incorporating its unusual nature into our daily life and landscapes.

1978 HAUSSON, leading exponent of European illusionism in Catalonia.

1978 AMADEU ASENSI, for his contribution to theatre in the world of variety and music hall.

1979 LA CÚPULA VENUS, for its attempts to revitalise music-hall in Barcelona.

1979 SALVADOR BROTHERS , for their dedication to Catalan theatre, of which they are faithful and worthy heirs.

1979 EL INGENIO, for having been able to maintain, through difficult times, a characteristic, craft tradition, linked to popular fiestas in Catalonia.

1979 LA CUINA DE LES ARTS, for bringing new value to the para-theatrical genres.

1979 LES ZEIGFIELD, for the best foreign contribution to music-hall performance.

1981 KRIK-KRAK, for incorporating pre-recorded material into the comedy genre and for the international profile it has given to our music-hall over the last three decades.

1981 CAPISTROS BROTHERS , for their efficiency and dignity, maintained over the years, in the speciality of theatrical costume design.

1981 CASA FORÉS, for the level at which they have maintained their profession, even in difficult circumstances, and in recognition of their original contribution to the world of the carnival.

1981 CLUB CLOWNS, for its persistent, altruistic work in support of its art.

The 1981 jury would like to give a special mention to the outstanding efforts of CIRC CRAC in creating a Catalan circus.

It would also like to mention the actor Manel Barceló, for recovering the art of impersonation in his show Quatre i Repicó

1982 TEATRE ARNAU, for rescuing a traditional venue in the Barcelona music-hall scene.

1982 FERNANDO ALBALAT, for his professional dedication to music-hall costumes.


1983 PIRONDELLO, for his talents as a cabaret show host and his skill in communicating with the audience in the show Barcelona de nit. 

1983 CARROLL, for his brilliant contribution specialising in intimate magic in his performances at the Llantiol.

1983 FRANCESC VALLDEPERAS, highly-acclaimed craftsman, with a reputation stretching for many years, specialising in theatrical footwear.

1984 PEP BOU, for continuously extending the boundaries of his work and for its originality.

1984 MARTÍ BROTHERS, for their inventiveness in creating works with precious stones, which contribute to the brilliance of theatrical costumes.

1985 JUAN DE LA PRADA, longstanding contributor to Barcelona music-hall, as author of invariably-excellent songs.

1985 MÀGIC TRÉBOL, for the vibrancy of their stage magic shows, including the  outstanding counterpoint number that appears during the current sex show at the Bagdad.

1986 COMPANYIA LA FANFARRA, for creating the TEATRE MALIC, a venue devoted exclusively to the field of puppets and shadow theatre. As well as the research work that the group undertakes, the jury would like to mention the importance of their perseverance.

1986 XAVIER GIRONÈS, “GIRÓ”, for his personal touch and the series of highlights achieved in his magic sessions at the Llantiol.

1986 SERGI LOZANO, theatrical model maker and designer of a large proportion of the costumes we see in music hall, especially at the Teatro Arnau and at El Molino

1987 JORDI BERTRAN, for his technical and poetic contribution to puppet theatre.

1987 JAUME MATEU (TORTELL POLTRONA), for his outstanding personality in the art of clowning.

1987 EDICIONS DE L’EIXAMPLE, for bringing together the world of performance with the world of publishing.

1987 JOAN MARIA MINGUET I BATLLORI, for recovering the texts on the plastic arts by Sebastià Gasch (1925-1938).

1988 COMPANYIA CRUEL·LA DE VIL, for their first show, Bombo, which demonstrates, with unquestionable achievement, a renewal in small-format theatre.

1988 SALA LLANTIOL AT THE PUEBLO ESPAÑOL, for opening a venue at the Pueblo Español to demonstrate the relevance of stage variety theatre at a particularly difficult time for this genre. 

1988 WAITERS AT THE BELLE EPOQUE, for the natural way in which they integrate themselves into the performance, and for thus establishing an efficient and easy-going connection between the magnificence of what is happening on stage and the audience.

1989 GEORGE AND MARGARET, for their design of the use of the stage and their achievement in presenting the trick “The Disintegration” at the Sala Llantiol at the Pueblo Español.

1989 CORPS DE BALLET OF THE CABARET BARCELONA DE NIT, for their admirable efforts in stretching their limits and enriching their artistic possibilities so effectively.

1989 EUGENI NADAL, EX-MAYOR OF TÀRREGA, AND HIS TEAM (GROUP PROMOTING THE TÀRREGA FESTIVAL) , the founding force for the Tàrrega Festival of Street Theatre, which over the course of ten years has managed to establish itself definitively. For this, they receive our acknowledgement.

1989 CONSISTORI DE SABADELL, for giving the name of the theatrical star of Sabadell, Maty Mont, to the square formerly named after Bishop Modrego.

1989 ESTHER FORMOSA, for her creation of the character “Canyí” and because, with great economy in expressive resources, she creates her own charming, unique way of communicating with the audience.

1990-1991 MIMI POMPOM, for her original contribution to the renaissance of music-hall and for creating a character of singular vitality.

1990-1991 EL TIMBAL SCHOOL OF EXPRESSIVE TECHNIQUES, for its contribution over more than twenty years to the training of actors, dancers, acrobats, mime artists etc. and for the tenacity and passion of its director, Ton Font.

1990-1991 TEATRE DE LA BOHÈMIA, for the show Mambo, which manages to combine the resources of impersonation and magic into the framework of farce.

1990-1991 IGUAL FIREWORK MANUFACTURER AND ISIDRE PANYELLA, MASTER PYROTECHNICIAN, for their constant creation of visions of illusion and memorable emotions for everyone through light, colour and sound.

1992 NAZARIO, for his ironic contribution and imitation of comic books in his music-hall costume design for the show Braguetes.

1992 JOSÉ DOMÍNGUEZ, for the fresh approach he has given to the role of master of ceremonies in a show of para-theatrical arts.

1992 DOLLY VAN DOLL, for her new, original and brilliant performance that closes the number “Moda imposible”, a skilful piece that is adeptly incorporated into the new version of the show Sueños.

1992 FREDIANI BROTHERS, for the way in which they have incorporated the skills handed down by four generations of circus performers into contemporary performance.

1993 KOSMIC KABARET, for their effort and achievement, despite limited resources, in creating a show that manages to be both commercially successful and at the same time rigorously innovative.

1993 MARDUIX TITELLES, for their long-standing and innovative career, for the original concept of a language inspired by the cultural imagination of the country and because they appeal to both children and adults.

1993 ROSA NOVELL, for the effort and skill with which she performed various rôles in the show Joan Miró, l’amic de les arts at the Teatre Romea.

1993 COMPANYIA EL ESPEJO NEGRO, for the show Tos de pecho, which demonstrated their skilful handling of puppets and a notable ability to improvise.

1994 COMPANYIA TEATRO MUSICAL INSTINTOS, for the show Tango insólito. With the expressive intensity of the choreography and movement, they convey the irony and sensuality of tango in the style of modern cabaret.

1994 CHICOS MAMBO SHOW, for the show Barcelona, París, Caracas, a dexterous, fast-paced performance with seamless impersonations of a host of  characters, and for everything that we expect of them.

1994 LOS LOS. The originality and suggestiveness of Pourquoi pas? throws down a challenge to attempt new types of comedy combining imagination with a minimum of technical and theatrical resources.

1994 TALLER DE MÚSICS, for their thoughtfulness in programming different forms of creative expressions, such as jazz and flamenco, and for fostering musical learning in all its forms.

1996 TONI ALBÀ, for the many rôles he plays in L’ombra, a show he both wrote and performs.

1996 MANEL BARCELÓ, for his number as a Bosnian child in his show Cabaret per a la guerra de Bosnia.

1996 ROSER BATALLA AND ROGER PEÑA, for the rhythmic adaptation into Catalan of the words of the songs in the musical Sweeney Todd.

1996 CECILIA ROSSETTO, for the number “La mujer divorciada” in her show Dame un beso.

1996 CAMUT BAND, for incorporating the rumba and African rhythms to tap dance in the show Entre pies y manos.

1996 ÁNGEL PRADO CONTRERAS, for his Màgic Robot, in the show Ikebana at the Sala Barcelona City Hall.

1996 SARRUGA PRODUCCIONS,for creating the dragon used in the work La cabeza de dragón.

1997 ACCIDENTS POLIPOÈTICS, for creating and developing a space for poetry in the para-theatrical arts, magnificently reflected in over 175 performances in the last two years.

1997 CIRC CRAC, for their efforts in creating a permanent circus company, and for their research activity aimed at keeping the spirit of the circus alive.

1997 MÒNICA LÓPEZ, NINA AND MUNTSA RIUS, for their powerful, confident performance of the number “You Could Drive a Person Crazy”, in the musical Company, directed by Calixto Bieito.

1997 CHRISTIAN ATANASIU, for providing intelligent bursts of comedy in his show QUEmexpliQUE, using sounds and words for his own verbal and visual games as well as the ingenious, effective use of Dada texts.

1997 ESTER BARTOMEU, for her energy and sensuality as a singer and dancer in the role of Velma Nelly in the musical Chicago, directed by Coco Comín.

1998 CÍA. ¡VALIENTE PLAN!, for their irresistible appeal, an appeal that comes from observation, experience and love of their characters: single women, women in turmoil, women hopelessly in love, but full of life, desperate by never pathetic. Formidable characterisation by formidable actresses.

1998 ESPAI LES GOLFES, for presenting small-format ideas that are often daring and always appropriately presented, and for the quality that they have been able to bring to the context in which creators and audience come together.

1998 ESPAI EL PENÚLTIMO DEL BORNE, for creating the necessary environment, among drinks and conversation, where, as you yourselves put it, the “marvellous madmen who have come to make us fly with their creativity” have found their concert hall, their theatre, their cabaret, circus ring, dance floor or exhibition hall, in which to reveal their dreams.

1998 MONTI & CIA, for Klowns. You have grasped the light of the delicate art of clowning, of the illusion of instant invention which, as we know, requires hours and hours of work, hours of watching people. Of watching them as children and as animals. Of finding the rapid response to non-repressed instinct. And of saying it clearly: I am a clown, I wear a red nose and, as well as the occasional lump in your throats, I have come to make you laugh.

1998 ALEXIS VALDÉS, you arrived from your country to discover yourself. To impose yourself. To blend in. You combine your own images and phonetic particularities with those that you find. You adapt whatever needs adapting. You study us and depict us. You make us laugh. You don’t stop. You speak well. And everything, as a consummate professional, to a beat, to a beat, to a beat, to a beat...

1998 VICKY PEÑA, because as well as providing fresh proof of her acting ability as a theatre performer,  she has shown herself to be a great actor of musicals, capable of bearing on her shoulders most of the weight of one of the most ambitious productions of the Teatro Nacional de Cataluña.

1999 ESPAI ESCÈNIC JOAN BROSSA, for its permanent programme of magic, poetry and cabaret and for bringing street theatre to the stage which, along with the visual poem, Joan Brossa designed in the Plaça d’Allada Vermell in the Ribera district of Barcelona.

1999 ESPAI CONSERVAS , for making use of an unusual venue filled with a surprising collection of recycled objects to present a daring programme, including the outstanding series “comicomer”: imaginative dinners accompanied by daring, small-format shows.

1999 SIMONA LEVI, for creating her own show full of troubling humour and surprising theatrical solutions, with an unusual degree of quality and originality.

1999 PEPA PLANA, for her skill in ruffling the established order with her show De Pe a Pa, bombarding the world with impertinent questions which are also insidiously pertinent.

1999 PASCAL COMELADE, because the magic of his concerts at l’Espai converted musicians and sounds into actors and stage sets, in order to transmit acoustic stories that do not need to be articulated.

1999 THE SCALEXTRIS EXPERIENCE, These actors have combined theatre, circus and television culture in a theatrical game that goes beyond entertainment and opens up comic doorways onto the absurd and the logic of language.

1999 CARLES FLAVIÀ. If art is nothing more than a commentary on life, this is the artist who reflects the soul of all those artists that hide behind ironic observations of everyday life, and whom you find are generous, exuberant improvisational philosophers of the night. One of those actors who talk to you, not so much about how much his feet hurt but about how his shoes are suffering.

2000 THE CHANCLETTES. There is nothing more para-theatrical that not being conventional. If you take this to the ultimate consequence: wardrobe, script, music and action, you are a “chanclette”.

2000 LA PORTA, For the heroic efforts with which, tirelessly, over all these years, they have exhibited subtlety and good taste in fostering the spread of the most innovative and poetic in contemporary dance. Their programming is a creative act in itself.

2000 LA TROVA, for their playful, educational “history of music”, supported by skilled, virtuoso musical performances, both vocal and instrumental.

2000 MARCEL·LÍ ANTÚNEZ. He has worked tenaciously to create a new theatrical language based on new technologies and has created an unusual dramatic spectacle, with Homer’s Odyssey as its linking thread. Applause, then, for Marcel·lí Antúnez, the creator of the “risk” that he achieves in Afàsia, a work of great artistic beauty that opens up a new direction for performance.

2000 TRAPECIO 2000: VILANOVA I LA GELTRÚ INTERNATIONAL CIRCUS FESTIVAL, for its initiative, in conjunction with the city of Reus, in creating the first showcase and annual international meeting point for professionals and lovers of new trends in the circus arts.

2000 SÒNIA HERMAN DOLZ. Eternal gratitude to this young film-maker who in her documentary has been able to show how the Bodega Bohèmia was a dream for the artists who performed there and also fulfilled a need which currently remains unsatisfied.

2000 THE SHOW T’ESTIMO ETS PERFECTE... JA ET CANVIARÉ. An austere, unadorned set, an accurate linguistic adaptation, top level dramatic and musical performances and perfect acoustics have given this excellent contemporary musical show equal doses of comedy and critical commentary.

2000 LOS GALINDOS, a group of acrobats and jugglers from various backgrounds, with “years of big top experience” who have been able to imbue each show with spectacle, poetry and a dose of comedy.

2000 TERESA CALAFELL (special mention). Teresa Calafell died on the 24th November 2000. She was a great individual and also a great creator. For those who were close to her in recent years, it was an unforgettable experience to watch her prepare her stage for each performance, setting in place a tomato, banana and cauliflower, fresh from the market, painting the nails of those strong, expressive hands and flirting with the audience using the highly personal, suggestive images of the show La Guinda, a show that was the culmination of her great scenic, aesthetic and ethical knowledge.

2001 POLITICHIEN KABARETT, BY EL BURLADERO. A political show commenting on everyday events. Entertainment comes first in a lively, critical, sarcastic, witty comment on current affairs in the country, with excellent musical and acting performances, as well as audience involvement. This is cabaret.

2001 THE BOOK ALADY, L’ÚLTIM REI DEL PARAL•LEL, BY MIQUEL BÀDENAS I RICO, for restoring the reputation of one of the great artists in this country, Alady, and also for discussing the history of a place that is unique in the world: El Paralelo.

2001 CIRCO IMPERFECTO. The happiness of throwing yourself into someone else’s hands, of jumping on top of them. Of offering the safety of your own hands and letting someone jump on top of you. Of being spun around. Of balancing on a tight, metal wire, supported by with technique and calm. Making worlds fly around your head. And leaping backwards to leap forwards.

2001 INTERNET NEWSLETTER CLOWN PLANET, BY ÀLEX NAVARRO. Now, with Clownplanet, you can publish and receive news about clowns and everything related to them over the internet. Performances, courses, a new circus magazine, photographs from Kosovo, helicopters flying over red noses in Palestine, laughter therapy, becoming a member of Clowns without Borders, a festival in Mexico, latest news of the permanent circus in Argentina, a meeting of magicians, copies of jokes, etc. To find about how and why, visit

2001 TÓRTOLA VALENCIA, BY ANNA CASAS, MÒNICA QUINTANA, CARLES MÚRIAS AND XAVIER ALBERTÍ, for its skill in evoking, in a contemporary way, the infinite personality, mystery, history and legend of the dancer and actress Tórtola Valencia.

2001 BÉSAME EL CACTUS, BY SOL PICÓ. She has achieved the great miracle of theatre: for the performance to pass by in a flash. In a single show, she has brought together the perfect proportions of dance, mime, humour and impersonation, offering new theatrical games and an emotional connection with the audience.

2001 CÍRCOL MALDÀ. In recognition of the 2001 programme at the Círcol Maldà, a space that retains the photographs and beams of an earlier era in cabaret, and which brings together, in an intimate atmosphere, the most diverse ideas of cabaret, theatre, music, poetry, song and action that illuminate, clarify and parody the panorama of the present.

2001 A MODO DE ESPERANZA BY ANDRÉS CORCHERO Y AGUSTÍ FERNÁNDEZ. Andrés Corchero and Agustí Fernández have brought us a show of great beauty, full of art and artistic investigation, in which the sum of the effects of lighting, dance movements, sound, musical performance and staging create a series of magical sensations.

2001 QUENTIN CLEMENCE arrived in Barcelona with a travelling circus variety group in 1984. He has spent hours, weeks, months in the Ramblas and in Portal de l’Àngel with his puppets and his penny whistles. In the show L’adéu de Lucrècia Borja, with text by Joan Francesc Mira and composed and directed by Carles Santos, which opened at the Teatro Fabià Puigcerver, Quentin Clemente presented a splendid derivation of his current work with marionettes in movement, based on counter-weights and hydraulic mechanisms.

2001 SOUNDPAINTING, BY WALTER THOMPSON, AL LEM, for creating a ritual of musical, instrumental and vocal improvisation that involves performers and subsequently the audience through a code of gestures capable of mixing qualities, frequencies, volumes and all types of nuances, and which ends up creating a highly effective physical and sensorial effect.

2001 LLUÍS SOLÀ, DIRECTOR OF THE TRIBUTE TO ANNA RICCI. All the elements in the sensitive world of Anna Ricci were present on that night of Wednesday 20th June 2001, in the Foyer of the Liceo in Barcelona. From biographical and artistic projections to the music that Anna Ricci loved, promoted and supported.  Musicians of all ages on the stage. A moment of serenity, emotion, understanding and pleasure. What a thing, one of those one-off events!

2001 FURA. Working at the subtle frontiers of difficulty, there is a woman tying knots suspended in the middle of a curtain. She undoes one of the knots. She seems to fall in a spiral and is caught by another knot somewhere else. We breath a sigh of relief for her. She understands the textures of the fabric that gives her wings. And their relationship, volume, strength and weight. Now she learns to not fly like a female falcon trapped in a net.

2002 LOCO BRUSCA. This continent-leaping clown, who understands child psychology and adult limitations, knows how to be as delicate as a soft breeze, and taking us by a small finger, makes us complicit in his adventures. But, tremble, for he also holds us all up by one foot and shakes us to get rid of our masks and disguises. He has enough strength and presence to do it. Loco Brusca is always searching.

2002 ERNESTO COLLADO AND ALFONSO VILALLONGA, we would like to make a kind of contract with you, even if it is a kind of emotional blackmail. Please, carry on inventing contrasts. Keep playing with words which mean something and with words that don’t seem to. We want to listen to your humour, your sarcasm and your irony. Put on some music. Sing. Move our fingers and toes. Cabaret needs you. Cabaret wants you to hatch a new egg.

2002 BOULEVARD OF BROKEN DREAMS. Suddenly, ready made, as if taken from our dreams or the memories of our imagination, comes the fair. Almost a village. Attractions, screenings, games, pavement cafés, beer and tiny theatres. An emotional stroll over a thousand mirrors of oneself. Food for smiles and charms. Immersions for the unconscious. A humble poet or an honest monster can jump out at you at any corner. It could be the set for a mystery or a detective novel. Viewer, you will take away much more than you pay for.

2002 COMPANYIA IMPROMPTU. Improvising requires opening ears and eyes. Tensing and relaxing. Jumping into the void in shirtsleeves, rolling up your sleeves and keeping something up your sleeve. Knowing how to wear your heart on your sleeve and how to pull up your sleeves. Taking the risk to go too far, and if this is too much, knowing how to laugh up your sleeve. The company Impromptu has chosen this difficult area to question and perfect its theatrical work with excellent results.

2002 LA GRAN SCENA OPERA, for the brilliant and transgressive work of this transvestite opera gala with excerpts from Carmen, Aida, Il Trovatore, La Bohème and La Traviata, presented by Miss Sylvia Bills, retired diva, and by the star of the company, the veteran soprano, “traumatised” Russian Vera Glaupe-Borszkh. A show with large doses of vocal technique, musical intelligence, irony, sarcasm and healthy mischief.

2002 VALERIE POWLES. Barcelona, November 1988. Against a backdrop of indifference in Barcelona, a team of demolishers destroys the interior of El Molino on Paralelo. A woman with a passion for the past appears and, with the aid of Victor, one of the Ukrainian workmen, collects from the skips and bins everything she can find: curtains, libretti, documents, scores, ticket stubs, posters... Barcelona, a city that accumulates or destroys without any perspective, a serpent devouring itself and which ends up gnawing on its own teeth, is grateful to have this guardian of memory in its streets.

2002 MADAME ET MONSIEUR, BY CIA. LEANDRE-CLAIRE. Your show, repeated many times in the street before reaching the stage, is an intelligent combination of languages based on silence, which guide us progressively along the path of pure contemplation in an atmosphere of collaboration between the stage, the theatrical machinery and the audience. A delicate, human story, essential, simple and sensitive, in which we see how everyone finds the love and life they themselves create.

2002 LA CASA MÀGICA BY XEVI. The long career and extensive knowledge of the magician Xevi, the love for his art and his work, have made the existence of La Casa Mágica possible. It is a splendid permanent exhibition of the art of illusion, a homage to all magicians in the world. To visit it is to start to understand the patience demanded by perfection, and the careful, precise and varied techniques necessary to create the ritual of illusions.

2003 JOAN ARMENGOL. Loud, posthumous applause to lift this personal clown up to heaven. Founder member of the Rogelio Rivel circus school, teacher of the youth circus school of the Ateneu Popular 9 Barris and maestro among maestros.

2003 LEANDRE, for making us smile with his rhythmic games in The Beat Band. A silent singer who has mastered expression and mime. Desbandada, a magnificent concert-show at the Teatre Villarroel.

2003 OLIGOR BROTHERS, creators of the poetic show Las tribulaciones de Virginia. The love between Valentín and Virginia in a small circus hut, between mechanisms of filigree and effects from fairy tales.

2003 EOS PRODUCCIONS AND THE ARTISTIC TEAM of the musical No són maneres de matar una dona, set in period of the American film noir of the Forties, directed by Sílvia Sanfeliu, with musical direction by Xavier Torras, produced by Elena Espejo, with four actors and five musicians. It opened in March at the Artenbrut and was extended until April at the Teatro Villarroel thanks to its success among audiences and critics.

2003 JORDI JANÉ, for his splendid book Li-Chang, el xinès de Badalona, which launched the collection “Badalona Biographies” published by Badalona City Hall and Badalona Museum. It tells the story of one of the greatest illusionists of all times, the magician Joan Forns Jordana, a master in the art of artifice, who combined an inexhaustible repertory of magical effects, with excellent technique and subtle poetry, all elements which the book brings together and conveys with great skill.

2003 TEATRE PER LA PAU, an amateur theatre group from Mataró which, under the direction of Josep Rodri, has created the choral work Morir en Bagdad, narrating the horror of war from thirty six coffins. Applause for these exponents of theatre that engages with life.

2003 ROSA MARIA LLOP AND JOSEP MARIA MARTÍNEZ have opened a treasure chest of magic in the Carrer del Oli, Theatre-Museum El Rei de la Màgia the, a setting exclusively devoted to magic, with family performances and late-night shows, and a detailed exhibition of artefacts, tricks and objects from the world of the impossible that seems real.

2003 MARIA STOYANOVA, the Bulgarian actress who has given shape, in the show Gitana en Barcelona, to her childhood dreams of coming to Barcelona, and has confronted the reality with her own, angelic voice.

2003 EMPAR ROSSELLÓ i l’Espai Mer “because I am not a man, I am not a woman, turn off your mobiles and don’t sit in the reserved seats...Ah! And I haven’t got any change!” A long career in contemporary creative work and particularly in the smallest theatrical space in the city.

2003 JOSÉ MANUEL PINILLO, creator of Mapapoètic in Barcelona, with the help of Eduard Escoffet and Víctor Nubla. A project that consisted of a different poem being performed in a different part of the city over twenty-six days in the month of June. Each poem belonged to a different world author and was interpreted in a non-verbal language by a contemporary artist in the city. In this way, the written word became theatrical, cinematic, musical, sculptural, acoustic, plastic, gastronomic, cybernetic, biological, graphic and at the same time fleeting, permanent or immaterial.

2006 JORDÀ FERRÉ AND ANTIGUA & BARBUDA. Who, thanks to their hands of gold and a healthy dose of ingenuity and imagination, have been able to project fantastic objects that can seem real, and which at the same time transport us to unknown worlds.

2006 CRÓNICA DE JOSÉ AGARROTADO DE LOSCORDEROS.SC. Se valora su capacidad de desarrollar la obra en un espacio sencillo, arriesgando en nuevas propuestas de comunicación, donde todos los registros son cuidados al por menor, dejando entrever humildad en escena, que nos permite palpar humanidad, entrega y trabajo en equipo, mostrando que lo importante de su obra no es sólo el actor sino el resultado del conjunto de la creación, que desemboca en una valiente apuesta de danza y teatro que demuestra una clara evolución en las artes escénicas.

2006 AREATANGENT. For the interdisciplinary nature of their work, for creating space and energy for everything that is starting out, for supporting creative activity day after day with tenacity, belief and lack of fear of the unknown. From small shows to major spectacles, everything has its place in this dynamic organisation.

2006 L'ART DEL RISC - KRTU, DEPARTMENT OF CULTURE OF THE GENERALITAT. For organising a retrospective of circus in Catalonia for the first time in history, and for what this means: leaving a permanent record of the most significant people and shows. And also for having produced a magnificent book to keep for ever.

2006 FESTIVAL PANORAMA DE OLOT. Because the theatrical, visual and acoustic arts found a space for contemporary creation in the Garrotxa region, although its interdisciplinary and international nature makes it an indisputable reference point in the whole of Spain and Southern Europe . And of course, it's not just another festival, it's a festival of the other!

2006 DAFT PUNK CONCERT LIGHT SHOW. concert light show. For the light show at the Daft Punk concert at the Festival Summercase in Barcelona, for providing a lesson in space and modernity, for creating such unique staging, and because it was a concert in which it was difficult to tell whether the lighting operator was making music or operating the lights.

2006 COSTUME DESIGN BY LYDIA AZZOPARDI FOR THE SHOWS PSITT!! PSITT!! AND CARAVAN. For the imagination of form, and for the light and beauty that emanate from the costume design of the pieces Psitt!! Psitt!! and Caravan, by dance company Gelabert-Azzopardi.

2006 MIQUEL LUMBIERRES(POSTHUMOUS AWARD). For having fought with passion for a job well done from his position in public administration. We would like to pay tribute to a man who worked right up until the end to improve the theatrical panorama of Barcelona : Miquel Lumbierres.

2008 ALAMZEN. For its infrequent vitality, that has to be recognized and supported. Almazen is non stop. Either in the house or in the neighborhood, together with other initiatives, in the Fossar de la Galera at Drassanes, wherever is suitable, Almazen has presented in 2008 a great number of artistic initiatives. From the plastic arts to the music, going through the audiovisual, clowns, cabaret, poetry and competitions, everything counts in the programming of this space, which is more than a space: is a spirit. With the continuous presence of Jango Edwards and also of some awarded in other editions of the Sebastià Gasch, like Christian Atanasiu or Pepa Plana, Almazen is defined as cultural space for interaction.

2008 CIRCO DE LA SOMBRA. For the show Circo de la Sombra. In their first collective work, the Circo de la Sombra has created an attractive show, full of irony and complicities, where multiple circus disciplines executed with an excellent technical level intervene. A contemporary circus setup that turns out to be a respectful homage to the classical circus. Circo de la Sombra is an international company made up of Jordi Gaspar, Johnny Torres, Fabrizio Gianni, Pierre le Gouallec, Armando Rabanera and Anhalou Serre, accompanied by the original live music played by the Napolitan orchestra La Mescla.

2008 CLARET PAPIOL. For the show Devos a vós. An excellent adaptation to Catalan of the Belgian humorist Raymond Devos’ texts, assumed by Claret Papiol with a very accurate interpretation which, accompanied by Jordi Borrell’s sax, becomes a magnificent performance of intelligent and comforting humor. Raymond Devos’ texts adapted by Marie-Hélène Champagne. Live music and sax: Jordi Borrell (Jordi Perillós). Direction: Meritxell Roda.

2008 FESTIVAL MAPA. For the capacity of turning the landscape and human surroundings of Pontós into a specific artistic place where creators, audience and inhabitants turn into artistic objects.

2008 TAXI ANARQUIA. For its original and pioneer function, halfway between public transportation and the para theatrical show. Mariano Gutiérrez, better known by the nickname “the taxi driver” and for his little company, Taxi Anarquía, is a peculiar taxi driver, a performer who invites his passengers-spectators to a journey-show with music and conversation, including criticism, an interactive journey which goes further on the simple interurban journey.

2009 SERGI BUKA. For his constant investigation and innovation work in art and illusionism, specifically in shows like Umbra, and for the interdisciplinary will, shown in experiments such as the application of the laser beam, the shadows combined with puppets and the suggestive interventions in different TV advertisements.

ATEMPO CIRC. For the Impressive acrobatic level and the freshness of the scenic language of its first Atempo show.

PONTEN PIE FOR THE SHOW COPACABANA. For the staging that, from the beginning, invites to participation and to have an attitude of empathy between audience and actors, and for the sympathy and tenderness of young music-hall acts which are inserted with no other intention than to dramatize that... "Who gives as much as he can is not pushed to offer more. "

KAMCHÀTKA FOR THE SHOW HABITACULUM. For presenting the show as a great visual poem, and for the ability to accommodate viewers in an interactive relationship through “newcomer” characters who awaken humanity and surprise.

2010 JORDI COLOMINAS. For his work directing the Theatre Street Fair of Tàrrega, performed between 2007 and 2010. Tàrrega, as an emblematic site for street theatre and in general for all forms of less conventional performing arts, Jordi Colominas has placed the Fair in a unique international significance and make it an essential reference for higher-risk stage creators. This has contributed to restore the prestige of a sector with many difficulties to start their art projects.

2010 QUIM PUJOL. Sebastià Gasch taught us by his example that the best criticism is done with the best contemporary creation, and that intellectual honesty is not incompatible with the partiality of gambling, but even to the vice versa. So, for the generational shift that represents the work done in recent years, for the breadth of information, for the discomplexment of the critical tone and temper used in the technological environment of a tool like the Internet and its new possibilities for dialogue between different artistic communities, Quim Pujol deserves our applause for the work done on his blog site at Tea-tron, the site specialized in performing arts.

JORDI ORIOL. Author, musician, actor, director and member of the Indi Gest association. For his ability to play with language and force the "mistakes" like when Hamlet drops the “h”, or when at Home-Natja he draws the cool and nerd urban wildlife by making a tribute to all those who may lose their head for a bottom.

ELVIRA VÁZQUEZ. For updating El Molino and preserving both the spirit and the "feathers" which made her win the first FAD Sebastià Gasch Award 35 years ago. With such generous corporate initiatives and as high leveled as this one, we have no fear about the future of the music hall in Barcelona.

1, 2, 3 OF THE CLOWN, TIANA CIRCUS FESTIVAL. In memory of the clown, poet and educator Joan Armengol Moliner, 1, 2, 3 of the Clown, Tiana Circus Festival is born."One, you see it, two, you feel it and three, you explain it". To his polyhedral will, we who have seen it and feel it, today we explain it via the Emerging Creation Applause.

2012 MIGUEL NOGUERA. Miguel Noguera is an unclassifiable artist; an "explainer of ideas" transgressor, writer, artist, film actor, radio and television speaker... humorist or surrealist troubadour?. For some he represents the cutting edge, for others the posthumor. A deconstructor who experiments with anything that is or is not funny.

2012 PEDRO MORENO, VIOLETA LA BURRA. We reward the character made by Pedro Moreno: showwoman, comedian, singer, able to get some artichokes as earrings or a sausage as a necklace, but always with its own style and a particular elegance. Violeta La Burra is the synthesis of a endangered marabou and sequins Barcelona: the “scoundrel” Barcelona. She said it clearly: "I am the night." And this naughty night deserves an Applause.

The show Sé de un lugar (I know a place) of Ivan Morales, represented by Anna Alarcón and Xavi Sáez, has become an unprecedented theatrical phenomenon. Impertinent traveler of atypical spaces, Sé de un lugar speaks of an inevitable landscape in all our lives: the confusing stability of friendship, love, independence or cohabitation. Or, if we prefer, for when friendship cares of love and love doubts about friendship.
December 2018: Sé de un lugar is being represented in some corner of a theater in Barcelona. Search for it.

We all know that flamenco far exceeds the limitations of the music and dance of situation. That is a travelling art that is rooted wherever artists are born and live. Manuela Carrasco is an essential dancer and the best expression of music that crosses borders. Born in Triana, shows her art around the world struggling against all those who want to see it as a simple expression of Andalusian identity.

For their show Pugilatus, for having shown us that dying is not final and because these charming absurdity visionaries have the intact capacity to embrace the whole humanity in a ritual whose outcome is a stampede of fantasy, love and emotions that endure. Beyond this, these odd and poetic clowns compose a bizarre ceremony, a hilarious battle where tenderness and compassion are expressed in a charming and rampant way. An Applause because Pugilatus is a party, a party open to all.

2013 Exposition “PARAL·LEL 1894-1939”.
We give this applause to the exhibition "Paral·lel 1894-1939", curated by the stage director Xavier Albertí and the journalist Eduard Molner at the CCCB, for the visibility they have given to a half-forgotten tradition of popular Catalan theater, with the recovery of names, theaters, song books, repertoires and images of an avenue of entertainment especially associated with a memory such as the one of the critic Sebastià Gasch.

We give this applause to Galí Jordi for his ability to create his own universe defying the laws of physics through a personal imagery that approaches the gesture of the artisan, attaching movement and construction, weight and counterweight, in a mechanical sculptural dance that ends up generating a unique poetic movement in suspense. For being, ultimately, a magnificent aerialist of the enigmatic gesture.

We give this applause to the company Psirc for this haunting presence, for their impossible equilibria and for their will to investigate the geometry of emotions.

2014 JOAN CATALÀ. For being able to turn the interaction of a man and a wooden stick into a fascinating show, linking very different disciplines such as dance, theater and circus, generating the spontaneous act of a splendid ceremony: a human wheel, inclusive and remarkably festive. Ingenuity, skill, novelty, humor ...; in short, capabilities that awaken wonder.

JORGE DUTOR and GUILLEM MONT de PALOL. For breaking semiotic conventions of the body, movement, space and sound and for broadening the scope with such basic relationships as unusual. For the evocative complexity that transcends the surface from nearby, popular and everyday elements. For optimizing an austere economy of means. For the ability to link timeline and story progression. For the power of transformation: reference, ambiguity and surprise as alchemy of art and life. For a sense of humor and empathy as instruments of the scenic rigor.

PERE FAURA for There is no paradise without dance. Per la seva capacitat de conjugar harmònicament la biografia i la història. Per aproximar la dansa i la seva història com a disciplina a àmbits i referents més amplis de la cultura, vincular el metallenguatge amb la didàctica i arribar a públics especialitzats i generalistes. Per articular una síntesi escènica des de la hibridació disciplinària i l’ús coreogràfic de dispositius teatrals i mitjans tecnològics.

BIG BOUCERS COLLECTIVE. For labeling the world tagging the gesture... and then change the label. For questioning the starting point. For improvising futures. For improvising pasts. For rectifying the time of the scene. For redefining the meanings. For making a spectacle of movement and speech from all of it, and do it in an intelligent, cool, funny and new way. If there is a "before" and "after"... it will be necessary to restart.

2016 ASSOCIACIÓ CULTURAL NYAM NYAM. For its easy and self-assured capacity to mix, within the same pot, gastronomy, thought and live arts. For generating a speech in the kitchen, make us salivate and warm up the head with exquisite transdisciplinary proposals.

CARLA ROVIRA. For taking the audience to the “henhouses” and show them that the magic of inadequate elements can be very binding. For inviting us to be vulnerable.

FESTIVAL SÂLMON. For showing a universe where there are as many norths as there are stars

QUIM BIGAS, for Molar. For reinterpreting happiness and infecting the public in an epic and cathartic way, generating affection and collective emotions.

Sebastià Gasch FAD Awards Of Paratheatrical Arts