{"id":1783,"date":"2026-03-25T13:45:47","date_gmt":"2026-03-25T12:45:47","guid":{"rendered":"https:\/\/www.labaldufateatre.com\/en\/?p=1783"},"modified":"2026-03-25T13:48:31","modified_gmt":"2026-03-25T12:48:31","slug":"com-hem-creat-fantasmes-de-guerra-el-proces-de-creacio-dun-espectacle-intergeneracional","status":"publish","type":"post","link":"https:\/\/www.labaldufateatre.com\/en\/com-hem-creat-fantasmes-de-guerra-el-proces-de-creacio-dun-espectacle-intergeneracional\/","title":{"rendered":"How we created Fantasmas de Guerra: the creative process of an intergenerational performance"},"content":{"rendered":"

The creative process behind Ghosts of War<\/em>\u00a0has been long, shared, and closely connected to audiences. When watching a finished performance, much of what lies behind it often remains unseen \u2014 but in this case, the process has been essential in shaping the final result.<\/p>\n

From the initial idea to the premiere, the process took around two and a half years. During this time, a significant part of the work involved research: approaching the Spanish Civil War through real diaries written by combatants from both sides, in order to build a dramaturgy grounded in lived experiences.<\/p>\n

A creative process in dialogue with audiences<\/h6>\n

Beyond the initial development work, the creative process of Ghosts of War<\/em>\u00a0has been deeply rooted in stage practice and openness. We worked in various residency spaces (such as LAVA in Valladolid, Teatre de l\u2019Escorxador in Lleida, and L\u2019Artes\u00e0 in El Prat), combining intensive rehearsal periods with open showings.<\/p>\n

These sessions with audiences were key. They allowed us to observe how the piece worked and to adjust it based on real audience responses.<\/p>\n

An intergenerational performance<\/h6>\n

At first, we thought the piece was best suited for upper primary school audiences. Early open rehearsals confirmed this, but also revealed something unexpected: younger children connected with the piece through humour and visual elements.<\/p>\n

From there, we expanded the testing to include teenagers and adult audiences. The creative process of Ghosts of War<\/em>\u00a0showed us that the piece works across a wide range of age groups.<\/p>\n

Intergenerational open rehearsals highlighted how sharing the experience across different ages enriches the performance.<\/p>\n

This was further confirmed during a series of eleven performances in Lleida, with audiences of diverse ages, backgrounds, and social contexts. Today, Ghosts of War<\/em>\u00a0is an intergenerational performance that connects with a wide variety of audiences.<\/p>\n

A process that defines the performance<\/h6>\n

When we say that Ghosts of War <\/em>is suitable from upper primary school onwards, it is not based on intuition. It is the result of a creative process built on testing, audience feedback, and continuous verification.<\/p>\n

For us, this way of working is essential: to test, listen, adjust, and allow the performance to grow with its audience.<\/p>\n","protected":false},"excerpt":{"rendered":"

The creative process behind Ghosts of War\u00a0has been long, shared, and closely connected to audiences. 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