María Velasco has published more than a dozen plays, and has received awards such as the runner-up for the Marques de Bradomín award (2010); the Max Aub – Ciutat de València award (2017); the Heidelberger Stückemarkt International (2022) award; and the Max award for the Best Playwright (2022). Her texts for theatre have been translated into several languages (notably including French, Italian, English, German, and Turkish). The compilation Parte de Lesiones (La uña rota, 2022) includes some of the most significant titles in recent years, such as Escenas de Caza and La espuma de los días (covers); Líbrate de las cosas hermosas que te deseo, La soledad del paseador de perros and Talaré a los hombres de sobre la faz de la tierra (original titles). Her works have also been featured at international festivals such as Con Testo (Milano), Scenes d’Europe (Reims), Rencontres des Arts de la Scène en Mediterranée (Montpellier), Il mondo è ben fatto (Turin), etc.
She has been producing and directing some of her shows since 2013. In recent years, she has created La espuma de los días (Teatro Español, 2019/Teatre Lliure, 2020) and Talaré a los hombres de sobre la faz de la tierra (38 Festival de Otoño, 2020/Sala Beckett, 2022).
Velasco has also made adaptations for the Teatro de la Zarzuela and dramaturgy for dance companies, such as the Spanish-Italian Kor’sia, and interdisciplinary companies, such as the Catalan Les Impuxibles. The latter work, Suite TOC núm. 6 (Sala Beckett, 2019/Veranos de la Villa 2021), received the 2019 Butaca Nuevas Aportaciones Escénicas Award; FAM (Festival Grec, 2021); Harakiri (TNC, 2022).
She holds a PhD in Audiovisual Communication from the Complutense University and a master’s degree in Performing Arts Practice and Visual Culture from the Reina Sofía National Art Centre Museum and the University of Alcalá. She was a member of Spain’s Institute of Cinematography and Visual Arts for two years, and has published theory on film, essays and narrative.
© Noemí Elias Bascuñana