Two of the most representative works in Spanish theater of the last decades are Ñaque o de piojos y actores and ¡Ay, Carmela! And their author is one of the most recognized of our time: José Sanchis Sinisterra. With Ñaque o de piojos y actores, Sanchis composes a beautiful song to theater, to the world of theatrical creation, and to the actor, by taking the audience to the Spanish scene of the 16th and 17th century; in this piece, an endearing but also bitter lesson of life tinted with absurd humor, the vocation of Sanchis for the scenic writing can be represented, a vocation that not only has given us texts, but also very valuable contributions of theoretical and practical nature: books, a constant teaching, and with it, the formation of fundamental names of the most recent theatrical past.
¡Ay, Carmela! is one of the greatest success of the Spanish scene of recent times, with a non-stop representation in the scenarios since 1987, when it was premiered. In this tragic comedy, Sanchis approaches another present of the Spanish history -Civil War-, achieving a testimony with which the readers and spectators approach creatures of an infinite tenderness, beings that are more puppets than real people, and comical situations that end up in huge sadness and desolation.
Cult, constant experimenter, Sanchis lives for the theatre and posed himself thousands of questions around it, attempting to answer them through practice, through his creations. As a testimony we have his texts were the memory of Beckett or Kafka is present, in the same way as Shakespeare's, the universe of La Celestina, or the Spanish presence in the first years of the conquer of America.