An actress, wrtier, director, drama teacher, creator of the theatrical experience of solidarity “Caídos del cielo” and agent, today Paloma Pedrero is one of the writers for the theatre with one of the longest and most coherent careers in the difficult world of the Spanish stage since she premiered La llamada de Lauren... in Madrid in 1985. For thirty years she has tirelessly fought to consolidate her personality as a woman and a playwright in the public sphere of theatre and has achieved what she set out to do from the beginning of her writing: to speak about her time and the people that inhabit it, with an aesthetic combining realism and poetry, with the intention of searching for the truth and stating it. That’s why, in her works, one fights and one wins or loses. They are about love and indifference; life and death; injustice and solidarity. Antagonisms are vital, because everything human is found in her opposites.
Her texts and performances of her works have been awarded prizes in Spain and abroad. Her works have been translated and published in English, French, Portuguese, Greek, Catalan, Basque, Polish, Slovakian, Czech, German, Italian, Rumanian, Japanese and Korean. And they have been performed in France, Portugal, Great Britain, United States, Australia, Italy, Czech Republic, Germany, Slovakia, Brazil, Argentina, Chile, Cuba, Puerto Rico, Mexico, Costa Rica, Venezuela, Colombia, Ghana...
Texts including Noches de amor efímero, El color de agosto, Besos de lobo, Una estrella, Cachorros de negro mirar, El pasamanos, Locas de amar, En la otra habitación, En el túnel un pájaro, Caídos del cielo, El secuestro and Ana el once de marzo clearly demonstrate the meaning of a drama that reveals a very unique style and stems from the loving gaze projected over those who suffer her, because - as she herself has declared - the prime material of her work is found “in the pain of life”.
Paloma Pedrero has settled into a space in which her penetrating gaze contemplates the world around her and, by reflecting it, transforms it into art. Her drama has always helped to subvert the way in which reality is captured; from her very first work, she dared to discuss topics hitherto prohibited for female writers, simply because they were women. At present, she tackles what could prove to be more uncomfortable to a society that accepts misery and injustice without being perturbed. Her contribution to dramatic literature, the world of the stage, and to revealing the individual and collective conscious, represents a significant step forward towards capturing the universe that surrounds the human being of today.