Salvador Miralles

Salvador Miralles, is one of the protagonists of the pòdcast ENTREVISTES BREUS AMB DONES EXCEPCIONALS, by Joan Yago. Actor and director. Graduated in Dramatic Art as a performer by the Instituto del Teatro. Founding member of La Pulpe Teatro and La Reforma Company. He has worked in a multitude of shows, ANTIGONES 2077 produced by WeNeverSleep and the Teatre Principal de Palma, including, NEGRATA DE MERDA, BOMBER(S) directed by Jordi Vilà, UNA FLOR NO FA ESTIU of which he is author, director and intèrprete (Award for best interpretation Atapib 2019); MADAME MARIE directed by Frederic Roda, MARIA ROSA directed by Carlota Subirós and premiered at the TNC (Teatre Nacional de Catalunya); BOOM BOOM BOOM. Premi Jaume Vidal i Alcover, directed by Joan M. Albinyana; LIBERA ME. d'Ars Antiqua and directed by the same Albinyana; POR, d'Antoni Mus directed by Antoni Rosselló; LA CITA with La Fornal d'espectacles (Gira arreu d'Espanya), etc. In television he has participated in the series TREUFOC and has appeared in La Riera, a TV3 series. In La Pulpe Teatro he has premiered "C.O.C.A." at GREC 2014 festival and also ABSENTEE which will be in season in Barcelona at Teatre Tantarantana. He has worked as a leading actor in FLAMES A LA FOSCA, by Espriu and Rosselló-Pòrcel with dramaturgy and direction by Teresa Vilardell (Festival GREC de Barcelona 2013; Mercat de les Flors), to LA CASA EN OBRES by Pep Tosar. LA
HISTÒRIA ROBADA directed by Joan Gomila and produced by La Fornal d'espectacles (winning show of the Alcover project, best public show award at the Fira de teatre de Manacor and award Ajuntament de Palma). He participated as an actor in ESTÁ LINDA LA MAR (2012-2013), authored and directed by Denise Duncan, winner of the Mostra de Teatre de Barcelona. He has done two residencies at LA SECA Espai Brossa produced by the theater: VAIG A COMPRAR UNA MUNTANYA and BROSSAT. He was trained as a child at the Mostra de teatre de Manacor from 1995 to 2003. He has participated in a documentary, short films and commercials.

Had you ever worked on a project like this before?

It was the first time I did the voice recording of a play. Previously, I had done advertising films, mobile phone ads for a theater and other recordings for radio, television and cinema. This format was different and at the same time interesting.

How was the recording in the sound studio?
On the day of the recording, all the people involved in the recording of the work arrived. Some of us already knew each other and others did not. It was a relaxed and pleasant recording.

Do you have any anecdotes?

My character was an interviewer and he was in every scene, so I was shooting all the time. It was better for me to do it right rather than sitting down. When I was finished I had the cameras that didn't look like mine. Later they were posting photos and I saw that in all of them I was in very strange positions, I suppose I was looking for the comfort of the beds.

Did you know the play you performed before?

I didn't know the work but I knew the author. He has a privileged mind and his creations are very ingenious.

How has it been working under the direction of Salvador Oliva?

Very comfortable and easy.

Do you think this project has to be extended in time? Why?

It is a very positive fact that the works of the playwrights and playwrights from El Hierro are recorded for posterity. I also think it is great that they can reach people who cannot read them in radio format. And I could add that this format can create curiosity to see the play at the theater and, therefore, can generate public. Something that I think is wonderful.