Historia de una maestra

Aurora Parrilla

Aurora Parrilla Camacho (Alcalá de Henares, 1998) holds a degree in Dramaturgy from RESAD (2021). In 2016, she began her studies in General and Comparative Literature at the Complutense University of Madrid (UCM). That same year, she participated in the third Dramaturgy Workshop of La Joven Compañía.

She is the author of works such as Lumbre, published in the magazine Acotaciones, and Momentos perfectos (Ediciones Antígona, 2022). Other titles of hers can be found on the website Contexto Teatral.

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Outside of school, she trained with playwrights such as Suzanne Lebeau, José Sanchis Sinisterra, and Lola Arias. She has worked as a playwright and assistant director to David Boceta on various productions, including Despedidas, a play she wrote, which was performed at the ESADS festival in Cáceres.

In 2022, she was selected by Centro Dramático Nacional to participate in the second edition of its Drama Residencies program, where she wrote her play, El Invitado, published by the INAEM (National Institute of Performing Arts and Music). She adapted La ciudad alegre y confiada  for the staged readings of Jacinto Benavente’s works at the Teatro Español (2022). In 2023, her play, Monstruos, el prodigio de los dioses, produced by Prodigio Teatro, premiered at the Almagro International Classical Theatre Festival. In 2024, she was assistant director for Vanessa Espín’s production of Las pequeñas mudanzas at the CNTC. She completed a Master’s degree in Screenwriting at the Complutense University of Madrid (UCM) and The Mediapro Studio (2024-2025) and interned as a screenwriter on the Globomedia series Barrio Esperanza, directed by Iván Escobar and Antonio Sánchez Olivas. In 2025, her adaptation of Josefina Aldecoa’s novel, Historia de una maestra, premiered, produced by the CDN. This same year, she participated in the new edition of the INAEM’s Contemporary Dramaturgy program, where she wrote her first play for children and young people, Las cosas que no teníamos que saber. As a teacher, she has taught dramaturgy at Billar de Letras, El Estudio, and the CDN.

Raquel S. Alarcón

Director, actress and pedagogue. With a degree in Hispanic Philology and a diploma in Psychopedagogy Applied to Theatre, she worked as a journalist for a decade before training at Teatro Cuarta Pared, Odin Teatret and Teatro de la Abadía. As a director, her work has premiered at venues including Teatro Pavón Kamikaze, the Centro Dramático Nacional, Corral de Comedias de Alcalá, Teatro Monumental, Teatro Fernán Gómez and Teatro Cuarta Pared.

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Her previous productions include Todo lo que veo me sobrevivirá — where she joined the writing team for the first time, alongside Lucía Carballal, Esther García Llovet, Roberto Martín Maiztegui, Pablo Remón and Melanie Werder (Teatro Cuarta Pared); 400 días sin luz, by Vanessa Espín (Valle Inclán, CDN); Daniela Astor y la caja negra, adapted by Mónica Miranda from the novel by Marta Sanz (Teatro Fernán Gómez); Sueños y visiones de Rodrigo Rato by Roberto Martín Maiztegui and Pablo Remón (Pavón Teatro Kamikaze); community theatre projects Cervantes de Boca en Boca (Corral de Comedias de Alcalá) and Todas Podemos Silbar (Teatro de la Abadía); and the documentary performance El cuerpo que es (Festival Surge 2023), among others.

As an assistant director, she has worked alongside Pablo Remón, Mario Gas, Ernesto Arias, Lucía Carballal, Fernando Sánchez-Cabezudo, Susana Gómez, Alfredo Sanzol, Pilar Massa and Rakel Camacho. As a performer, she has taken part in theatre productions and research projects across Spain, Argentina, Mexico, Italy, Romania and Poland. She currently combines her work as a director with teaching, as a tutor on the permanent laboratory Art and Contemporary Theatre at Cuarta Pared.

Laura Ortega

A graduate in Hispanic Philology and Dramatic Arts (directing), with pedagogical training and extensive experience in stage direction and artistic creation.

As a stage director, she has directed: Donde cubre by Bernardo Sánchez Salas (2007); Pasos de carnaval by Hans Sachs at the Thyssen-Bornemisza Museum; María Zambrano [la hora de España] by Itziar Pascual, Blanca Doménech, and Nieves Rodríguez Rodríguez at Centro Dramático Nacional; Intemperie at the Pavón Kamikaze Theatre; and Vientos que nos barrerán at the Fernando Fernán Gómez Theatre, the latter two plays by Cristina Redondo.

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Monsieur Goya by José Sanchis Sinisterra at the Fernán Gómez Theatre, based on the Spanish painter’s Black Paintings, with Daniel Canogar and Suso Saiz. Fandangos y Tonadillas with Compañía Nacional Teatro Clásico, co-produced by the Compañía Nacional de Danza. La verdadera muerte de la historia de Francisco Franco by Max Aub with Alfonso Torregrosa at the Arriaga Theatre. Declaración de amor (para siemre) by Magne Van der Berg at the Abadía Theatre.

She has worked as an assistant director for Fernando Soto (La estupidez, Ay, Carmela), Mario Gas (Los secuestradores del Lago Chiemsee), Marta Pazos (Comedia sin título, Orlando), Pedro Casablanc (Decadencia), Andrea Jiménez (Vulcano), and Andrés Lima (Shock 1. El Cóndor y el Puma, Shock 2. La Tormenta y la Guerra, Principiantes, El chico de la última fila, Prostitución, El pan y la sal, Medea, Sueño, Paraíso perdido, Todas las hijas, Todas las canciones de amor, Asesinato y adolescencia, La comedia de los errores, 1936).

As a photographer, she has undertaken her own projects in stage and artistic photography. She has held several photographic exhibitions: India instantánea, Trampantojo, Introspectivas, La Casa Mía; nuestra la casa, No nos hemos ido, and Cuerpos de barrio. She is currently preparing her first photobook: El cuclillero.

As a film director, she has premiered her first short film, Cualquier día la envenenas, which won the Third Prize at the La Rioja Film Commission Short Film Festival (2024) and the Best Rural Short Film Award (2025) at the Ghorlghalado Festival, in addition to ten selections at other national and international festivals.