The Orbitans continue on their alternative theatrical path. If their usual haunt has been and is the bar counters of many city streets, they recently explored another territory for another type of dramaturgy and, undoubtedly, for their already consolidated audience. The first test took place in a hotel room, the Ars Magna, with the title Píccolo. A success. Hence a second rehearsal, in the same place and with no few guarantees, which with the title Estranyes visites written and directed by Javier Gato Matesanz, starring Mariona Hauf and Joan Manel Vadell.

Twenty years ago, in Ibiza, it was a topic of debate what is or is not a motorway. And not just a debate: a discussion, a fierce dispute. The macro-project to widen the roads to the airport and to Sant Antoni, which Jaume Matas promoted in his second term in the Balearic Government (2003-2007), managed to make us Ibizans experts in mobility, roads, and the environment. It also managed to get more than 20,000 people to take to the streets on February 17, 2006, against the macro-project. Now, twenty years later, clubbers and residents cross the blue motorways that Matas commissioned (or dual carriageways or widenings or expanded roads, whatever you want to call them) to get equally stuck at the entrance to Vila. Now, twenty years later, hardly anyone remembers the 'anti-motorway' activists. Almost. By chance or destiny, the playwright and philologist Carme Planells has won the La Carrova theatre prize (awarded outside the Balearic borders, in Amposta) with the play Enlloc, a piece of documentary theatre that pays homage to the historic Ibizan mobilization between 2003 and 2006. The mobilization did not stop the motorways, but it did have political consequences: in 2007, both Jaume Matas and Pere Palau (who was then president of the Consell d’Eivissa) lost the elections.

In an 80-square-meter apartment in Madrid Square, six people lived: four siblings, mother, and father. At times, the grandmother was also there. It was a noisy house with a large terrace, and while some were returning from high school, a baby was crying. There is a 14-year age difference between the eldest brother and the youngest in the house. “It surprises me how, in the middle of that chaotic house, full of shouts and playing children, Pep could read, completely absorbed. He had a brutal capacity for concentration, it was as if he escaped.” Pep is Josep Ramon Cerdà (Palma, 1971), a playwright and professor. His younger sister, Margalida, known on social media as Madò Llucia, introduces us to him.