Alberto Cortés is undoubtedly the most prominent artist on the Spanish theater scene today. In “Analphabet” he creates the appearance of a romantic ghost by the sea, a figure who sings, narrates and confronts the idea of the couple. This spirit - simultaneously poetic, queer and tragic - emerges from the failure of love, carrying a wound that won’t heal, a language that stumbles, a romanticism that insists on surviving.

Cortés invents the myth of an entity that visits couples in crisis, not to heal, but to reveal. Her presence illuminates the emotional ravine we call a “relationship”, revealing the violence - subtle or explicit - that circulates in love, especially in queer relationships that are still crossed by patriarchal structures.
The show is constructed as a torn song, an embodied poem, a cry of warning and desire. Inspired by the landscapes of German romanticism and the emotional density of Andalusia and Basque, the ghost of “Analphabet” does not seek reconciliation, but rather offers an opening.

More than a play, “Analphabet” is a poetic evocation. An uncomfortable presence that whispers to distracted lovers. A lyrical warning that love, in order to be a place of care, must be rewritten from fragility, and not in spite of it.