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Brossa and the others

Joan Brossa (1918–98) is one of the most surprising poets, playwrights and visual artists of his generation. Connected with the avant-garde movements that located Joan Miró as a point of reference, Brossa was the key to the ‘Dau al Set’ movement, where he coincided for a time with Antoni Tàpies, Joan Ponç, Modest Cuixart and the philosopher Arnau Puig. A prolific creator, Brossa was soon recognised as much for his literary as for his visual poetry, as well as his installations and performances from 1970 onwards. He always defined himself as a poet, whatever medium he used to express himself. He called his art works – in which everyday objects are juxtaposed in a strikingly unexpected way – ‘Object Poems’ or ‘Visual Poetry’, while he has named his theatre ‘Scenic’, or ‘Theatrical’, Poetry. His Scenic Poetry is as varied as it is prolific, from full-length plays such as Or i sal (Gold and Salt, 1959) and El sarau (The Quarrelsome Party, 1963) to numerous short pieces that are often rooted in popular forms such as the carnival, the pantomime and the commedia dell’arte. Brossa was a particular admirer of the Italian transformist Leopoldo Fregoli, whom he had seen perform in Barcelona in the preCivil War years. Two of his large collections of short plays without words, the majority of which have never been performed, exemplify his creativity: Accions musicals (Musical Actions) first published as a collective volume in 1983, but the result of Brossa’s work in previous years with the composer Mestres Quadreny, the minimalist pianist Carles Santos and the singer Anna Ricci; and the seventytwo pieces entitled Strip-tease i teatre irregular, in which he ‘elevates striptease from the sordid to the surreal’. Brossa was fascinated by magic, and a particularly fruitful collaboration in which he was involved was with the magician Hausson (stage name of Jesús Julve), who performed (and still performs) Brossa’s short pieces without words. Despite being one of the most prolific and original playwrights in the Catalan language, Brossa’s theatre has received surprisingly little public performance. Many of his plays were written during the period from the early 1940s to the late