Casi ninguna verdad

Cris Blanco

Cris Blanco was born in the Peñagrande-Lacoma neighbourhood of Madrid. Although she earned a degree in Acting from RESAD in 2002, she has always written and directed her own stage works since graduating. She also performs in all of them—and sometimes appears in films. As a performer, she has worked with Alfredo Sanzol, Xavier Leroy, Cuqui Jerez, Los Bárbaros and Vanessa Espín, among others, and in film with Icíar Bollaín, Roser Aguilar and Belén Funes.

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Her stage works include Cuadrado – Flecha – Persona que corre (2004), The set Up (2008), ciencia_ficción (2010), El Agitador Vórtex (2014), Bad Translation (2016), Pelucas en la Niebla (2018), Lo pequeño (2019, alongside Jorge Dutor and Guillem Mont de Palol), Grandíssima Illusione (2022) and Pequeño cúmulo de abismos (2023).

She has presented her work at national and international festivals, museums and theatres, and has had the good fortune to receive production support from La Villette in Paris, the Centro Dramático Nacional, the Grec Festival, Le Phénix, El Mercat de les Flors and Condeduque, among others.

She is a great fan of cinema, especially science fiction, and her stage work draws on this genre as well as from the visual arts, music and low-brow culture. For a long time, her primary circuit was dance, and she approaches performance from a choreographic perspective. She is interested in the mechanisms of theatre itself and its conventions, in metatheatre, humour, the blending of genres and formats, and above all, in the relationship with the audience.

Óscar Bueno Rodríguez

Óscar Bueno Rodríguez (b. 1985, Avilés, Asturias, Spain) holds a degree in Dramatic Arts from the ESAD of Asturias, specializing in Textual Interpretation, a Professional Music degree with a focus on Piano, and a Master’s in Performing Practice and Visual Culture from the University of Castilla-La Mancha and the Reina Sofía Museum (Madrid). His practice constantly moves between performative, musical, and visual approaches, often in an intentionally fluid manner. He defines himself as both a creator and performer, while also working to support the processes of other artists.

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To develop his practice, he creates working frameworks broad enough to explore various questions from multiple perspectives. The first major framework he has developed is titled Sonidación (the act of generating sound mentally). Within this research space, he has created the pieces Soundtrack (2017), Amarillo Chillón (2017), Estudios para sonidación 1 (2020), Estudios para sonidación 2 (2021), and Estudios para sonidación 3 (2022).

The second major framework, which he is currently exploring, is titled La excitación del paisaje. Here, he returns to sound and investigates how music, image, and performativity can serve as tools to reflect on our relationships with nature. Within this framework, he has developed and premiered Apoyatura (2023) at the TNT Festival; Vientos (2023) at the Supernova Festival at Centro Conde Duque; Río (2025) at the Bosque Real Festival; and La roca blanda (2025–2026) during a residency at CDAN.

He has also undertaken various collaborative and educational projects, such as the Sinfónicos Workshops for Families at CA2M and La Casa Encendida (in collaboration with artist Itxaso Corral), as well as multiple sound and music creation laboratories in partnership with institutions like Graner, the Thyssen Museum Málaga, and MACBA, among others. He has participated in artistic residencies at Graner, La Casa Encendida, Casa Wabi (Oaxaca), and the Spanish Cultural Center in Mexico. He regularly collaborates with artists including Cris Blanco (Grandísima Ilusione, Bad Translation), Cuqui Jerez (Supernova, Mágica y Elástica, Las Ultracosas), María Jerez (The Stain, Yabba), Anto Rodríguez (Vivir en Videoclip, Arriba), and Amalia Fernández (El resistente y delicado hilo musical, Expografía).

Anto Rodríguez

Anto Rodríguez (b. 1986, Mieres, Asturias, Spain) trained in the practice and theory of contemporary performing arts at ESAD Asturias, UNED, URJC, UAH, and UCLM. In October 2019, he defended his doctoral thesis, developed within the Teatralidades Disidentes research project at UCLM and the Artea association of researchers and creators in the performing arts, where he serves as secretary. From 2022 to 2024, he worked as a postdoctoral researcher (Margarita Salas UCLM-UCM) in the group Research, Art, University: Documents for a Debate at the Faculty of Fine Arts, UCM, and until 2025 was part of the Dorothy Michaels Creation and Research Office in Madrid.

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He currently works as an independent artist-researcher and stage creator based in Madrid. Lately, he particularly enjoys making theatre, singing coplas, and organizing lectures.

Among his most recent and cherished projects are the book ¡Eres tan travesti! Breve historia del transformismo en España (Egales, 2024); the podcast-documentary Color Julay, which explores the history of songbooks and drag performance in Spain; and the audiovisual series Carrizo (produced by La Casa Encendida, 2019). Other notable works include the ghost film Frankenstein (Best Asturian Feature at the 51st Gijón International Film Festival), the concert-karaoke Vivir en videoclip (a production of the Los Veranos de la Villa festival), and stage works such as La Traviata (premiered at Teatro Pradillo and Teatro Español, Madrid) and Lo otro: el concierto.

His recent stage works include Arriba, Al Altu la lleva, La nada más absoluta, Notas para una conferencia troll, Mamá Patria, La salita, Los libros, .jpg, Vinilismos, and Mapa Sentimental Sonoro. He has also collaborated on creations by artists including Juan Domínguez, Amalia Fernández, María Jerez, Óscar Bueno, Cris Blanco, and Cuqui Jerez.

As an educator, he has taught in diverse contexts such as the Institut del Teatre in Barcelona, the Master’s in Performing Practice and Visual Culture at UCLM and Artea in Madrid, the Faculties of Fine Arts at UCM and UCLM, the MITAV program at the National University of Colombia, and the CA2M.