In this section you can search all our contents throughout the different stages in the history of art in Spain, to find styles such as Baroque, Gothic, Mudejar and many, many more. In this section you can search among all our contents by topic to find the different resources available in Spain, such as museums, routes, destinations, monuments and many, many more. This section provides access to all the contents in a personalised way, according to your own particular interests and socio-demographic profile. She was born in Badalona Barcelona in Her characters usually have a rich inner life, with many sensibilities.
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Email to go on mailing list and enter the competition. How did you hear about The Virginia Prize? Your Name. Pen Name. Title of Manuscript.
Number of words in total. Has the manuscript previously won any other competitions? Has your manuscript or any part of it been published before either online or in print? Please submit each manuscript to the competition separately:. I have read and agree to the rules of the competition. Drop files here or click to upload. For large files over 20Mb, send via a file transfer service such as We Transfer to vp www. Yes, you will be sent an automated confirmation email. You can enter each novel separately.
These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience. Necessary Always Enabled. Non-necessary Non-necessary. Entries should be in English or English dialect and should not have been published or accepted for publication elsewhere.
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Category:Lluïsa Cunillé i Salgado
She has more than forty releases, seventeen awards, more than forty works published in Catalan and the majority of them translated into Spanish, French, English, German and Italian. A large number of her works have also had debuts France, England, German and Italy. It provoked a panorama of different reactions given the surprising way in which she had manipulated, controlled and measured the cryptic theatrical language used. It was a language which seemed empty, but in fact, it is extremely solid.
The characters in her plays meet and establish relationships totally by chance. They are solitary souls who are usually lost in the great desert of the modern world, seeking an arm to cling to so that they may be saved. Hence, despite the pessimism conveyed by her texts, the characters also try to keep struggling to escape the harsh situation in which they are immersed. Her plays avoid moments of high drama to focus instead on the small, everyday situations that, in fact, constitute the characters' moments of greatest truth. In the 22 twenty-two! To this, one should add her renunciation of elements of the spectacle and the extreme dramatic economy that also characterise her "subtractive" poetry. Sharon G.