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Well, they are completely different. Writing for television is teamwork, there is not a single writer, so it is a less creative work. Theatrical writing takes place in solitude and right now, I find it hard to write drama.

How important is writing in times of crisis?

I think it is very important because the best theatre works are mirrors of the contradictions in society. A Doll’s House or An Enemy of the People by Ibsen are still relevant after 200 years because they still show problems that are typical of present society, for instance the role of women or how political interests are sometimes above the truth. These things cannot be put aside and theatre is a more direct mirror than films because you are seeing the actor and there is contact, you can feel what the character is feeling.

What is your favourite topic?

I love talking about human nature but without forgetting that there are external factors that affect humans. In Spain, we still have legacy of a civil war that was very hard and of a very difficult post war, as happened in Europe with World War I and World War II. That affected our grandparents and our parents and we run the risk of many attitudes recurring. I think it is important to have all this in drama and to generate fascination to spectators by the stories being told, so that they can think about what happened and reflect on it.

Are you happy with the fact that your play “Maror” was read in the Athens branch of Instituto Cervantes?

Yes, I am happy. My works have been translated into many languages and Greek is one of the languages to which they have been translated the most. The classical Greek theatre has been essential. In The venom of theatre, I talk about Socrates and Xenophon so I feel very close to Greece and its culture, which is the mother of all European culture. I think we would be nothing without Greece and that is why I feel very happy to be here, this is wonderful.