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SYNOPSIS
Caramel stems from a desire to understand the various ways people relate to substance use and its effects. After two years of research, meetings, and conversations with individuals and institutions connected to the subject, it became clear to us that a single work could not possibly capture the myriad issues that unfold when observing the complex world of consumption. At one extreme lies a moralistic, stigmatizing perspective, defined by the arbitrary distinction between what is currently legal and what is not. At the other lies the romanticization of use as a reactive choice against hegemonic judgment. But what is happening? What is the real issue? How can the same thing be both liberation and imprisonment? A tool for systemic control and an act of anti-establishment rebellion? It is evident that in cases of problematic use, the problem is not the substances themselves, but the relationship established with them—a relationship shaped by a combination of factors such as class, gender, or the wounds left by trauma. Yet, whenever we speak of drugs, stigma tends to arise instantly. It is easy to pin the blame on what is prohibited. But the moment we look at the list of permitted pharmaceuticals, the stigma miraculously vanishes. We are on the “right” side. The Law of the trade, like an animal, marking its territory. But what happens if, instead of focusing on the substance, we look at the true danger zone: compulsion? All those actions we perform without fully considering whether we actually want to do them—or even while knowing full well that we have no desire to do them at all. Where does this docility come from? What triggers it? Isn’t it the capitalist system itself that feeds, promotes, and facilitates the confusion between compulsion and desire? Of what you have, what do you need? And of what you want—what then? Do you want more? It is in the transformation of desire into compulsion that the practice of consumption becomes problematic. Shouldn’t the aim, then, be to recognize the origin of the compulsive behavior so it can be defused, rather than prohibiting consumption or stigmatizing those who turn to it seeking relief or diversion? Our wish is for the work to pose a question. Neither silence nor judgment. To strive for understanding, so that we may care for one another—and for it to be real. — PABLO MESSIEZ AND LES IMPUXIBLES
SYNOPSIS Caramel stems from a desire to understand the various ways people relate to substance use and its effects. After two years of research, meetings, and conversations with individuals and institutions connected to the subject, it became clear to us that a single work could not possibly capture the myriad issues that unfold when observing the complex world of consumption. At one extreme lies a moralistic, stigmatizing perspective, defined by the arbitrary distinction between what is currently legal and what is not. At the other lies the romanticization of use as a reactive choice against hegemonic judgment. But what is happening? What is the real issue? How can the same thing be both liberation and imprisonment? A tool for systemic control and an act of anti-establishment rebellion? It is evident that in cases of problematic use, the problem is not the substances themselves, but the relationship established with them—a relationship shaped by a combination of factors such as class, gender, or the wounds left by trauma. Yet, whenever we speak of drugs, stigma tends to arise instantly. It is easy to pin the blame on what is prohibited. But the moment we look at the list of permitted pharmaceuticals, the stigma miraculously vanishes. We are on the “right” side. The Law of the trade, like an animal, marking its territory. But what happens if, instead of focusing on the substance, we look at the true danger zone: compulsion? All those actions we perform without fully considering whether we actually want to do them—or even while knowing full well that we have no desire to do them at all. Where does this docility come from? What triggers it? Isn’t it the capitalist system itself that feeds, promotes, and facilitates the confusion between compulsion and desire? Of what you have, what do you need? And of what you want—what then? Do you want more? It is in the transformation of desire into compulsion that the practice of consumption becomes problematic. Shouldn’t the aim, then, be to recognize the origin of the compulsive behavior so it can be defused, rather than prohibiting consumption or stigmatizing those who turn to it seeking relief or diversion? Our wish is for the work to pose a question. Neither silence nor judgment. To strive for understanding, so that we may care for one another—and for it to be real. — PABLO MESSIEZ AND LES IMPUXIBLES Video https://youtu.be/caN6_YTTd24 photos 
TECHNICAL SPECIFICATIONS
Stage Direction
Ariadna Peya and Clara PeyaText and External Eye
Pablo MessiezChoreography
Ariadna Peya
Original Music
Clara Peya
Dramaturgy and Catalan Translation
Marc Cartanyà
DramaturgyAriadna Peya, Clara Peya, Marc Cartanyà and Rita Molina VallicrosaAssistant Director
Rita Molina VallicrosaActing Support
Marc Cartanyà and Rita Molina VallicrosaPerformersClara Peya, Helena Gispert, Joan Solé, Mabel Olea, Pol Guimerà, Sandra Pujol and Yasser D’OquendoVoice-over
Pablo MessiezSet Design and Lighting Design
Judit ColomerCostume Design
Joan Ros
Sound Design
Carles Bernal
Accessibility Advisor
Èlia Ferrero
EMAV Student Intern (Accessibility)
Òscar Argemí
Technical Manager
Jordi Berch
Technical Coordination
Mariona Ubia
Production Director
Mireia Gràcia Bell-lloch and Júlia Simó PuyoExecutive Producer
Maria G. RovellóTechnical Production
ContracorrentCompany Communications
Marta Vilanova, Cristina Castilla (L’eclíptica)Set Construction
Pascualin EstructuresPoster Photography
Xevi Abril
Poster Design
0001 Uno Studio
PhotographyMarta Mas and Jep Jorba
Content advisors:
Míriam Vázquez (Espai Ariadna), Aura Roig (Metzineres), Gastón Auguste, Clara Serra, Energy Control, Gerard Matín-Funés, Sandro Bedini, Júlia, Maria and Clara Faura Vilarmau, Vero, and others who prefer to remain anonymous.
Co-production:
Teatre Lliure, Les Impuxibles, Temporada Alta, and Cassandra Projectes Artístics.
With the support of the Institut Català d’Empreses Culturals, Graner, Nau Ivanow, and Fabra i Coats.
Caramel Premiered on November 6, 2024
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