NIEBLA
Adaptation and direction by Fernanda Orazi, based on the novel by Miguel de Unamuno
PREMIERE FROM 20 MARCH TO 12 APRIL 2026
NAVE 10 MATADERO
Artistic credits
Version: Fernanda Orazi a partir de ‘Niebla’ de Miguel de Unamuno
direction Fernanda Orazi
Cast: Carmen Angulo, Javier Ballesteros, Leticia Etala, Pablo Montes y Juan Paños
Lighting: David Picazo
Original music and soundscape: Javier Ntaca
Set design and costumes: Cecilia Molano
Production NAVE 10 | Matadero, Buxman Producciones y Pílades Teatro
Distribution Elena Martínez (Elena Artes Escénicas)
@geraldineleloutre
The company
Pílades Teatro was founded in 2022 under the direction of Fernanda Orazi and her encounter with a group of actors who had trained and continue to train with her.
Estrenan en 2023 Electra en el teatro de La Abadía de Madrid, donde vuelven a también en 2024, y tienen gira nacional hasta 2025. Electra ha obtenido los siguientes premios:
Premios MAX 2024:
Mejor Espectáculo Revelación
Mejor Versión para Fernanda Orazi
Premios Godot 2023:
Mejor Dirección para Fernanda Orazi
Finalista a Mejor Espectáculo
Finalista a Mejor Elenco
On this occasion, following an invitation from Nave 10 Matadero in Madrid for Fernanda Orazi to be the resident director for the 25/26 season, Fernanda decided to explore Niebla by Unamuno, keeping the same creative team as Electra, and adding the collaboration of Buxman Producciones, the participation of Cecilia Molano in the visual aspect of the work, and the actor Pablo Montes in the cast.
The play
Fernanda Orazi
@geraldineleloutre
Niebla is a piece inspired by Miguel de Unamuno's novel of the same name. More specifically, it is inspired by Augusto, its protagonist, and the vision towards which the author leads the character.
It delves into the heart of the relationship between the creator, his creation and the reader to foster a tragic experience not only for the character but also in the language of writing itself. When I finished reading it, I felt a kind of invitation to try to produce an experience of that nature in the theatre.
I decided to borrow Augusto and the universe that his author creates for him and weave him into the territory and language of the stage. In this novel, there is something akin to love for those creatures that move us in fiction.
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It was very clear to me, in the experience of reading, that the character moves us because of his way of being. Because he needs us in order to exist. Because he cannot turn to any supposed inner self from which to reveal himself, but quite the contrary, he receives his entire existence from others; he is radically dependent. If the author were to stop informing him, giving him his existence, he would weaken, dilute, disappear, lose his existence.
It moves us because it endures what we cannot endure, the certainty that deep down, at its core, there is nothing, that perhaps there is no one. This vision, in our lives, seems to be sustained thanks to the fiction of identity, of identification, or that idea/image of an inner self that structures us and holds us together so that we can say ‘I’. For us, it is either that or catastrophe. The character comes to endure what cannot take place in our lives as people.
Augusto, our character, sacrifices himself for us. So that we can see or hear this tragic secret and not run to tear out our eyes. We are not moved by identifying with Augusto's fate, we are moved by not identifying with it, by the vision of the misfortune of someone completely other, of a non-man.
Fernanda Orazi
The team
Fernanda Orazi
Actress, director and teacher. She currently resides in Madrid. She has worked with Pablo Messiez on ten plays over the last eleven years, the latest being Los Gestos, which premiered at the National Drama Centre and subsequently toured. She has also worked as an actress in plays directed by Pablo Remón, such as Barbados in 2022 and Doña Rosita Anotada. She has also appeared in plays by Denise Despeyroux, Ernesto Caballero, Pascal Rambert, Carlos Marquerie and Claudia Faci, among others.
As a director, she premiered her first play in 2003 in Buenos Aires, Teo con Julia. In 2010, she premiered Susana en el agua y con la boca abierta for the Madrid Autumn Festival, in 2012 El Rumor Analógico de las Cosas at Cuarta Pared, in 2013 El Futuro at the Teatro del Barrio in Madrid, and in 2017 Encarnación at El Umbral de Primavera in Madrid.
More recently, Electra premiered in 2023 at the Teatro de La Abadía in Madrid, followed by a tour, and in 2024 La Persistencia premiered at the Teatro del Barrio in Madrid, with him writing the script and directing both plays.
Since 1995, he has been working and researching performance procedures in educational contexts, laboratories and creative processes.
In 2023, he won the Godot Award for Best Director for Electra, a show that was also a finalist in the same edition of the Godot Awards in the categories of Best Show and Best Cast. And in 2024, he won two MAX Awards for that same Electra: Best New Show and Best Version or Adaptation of a Play.
Carmen Angulo
Actress and dancer. She holds a degree in Classical Dance from the Conservatory and a degree in Literature and Language from the National Distance Education University (UNED).
He made his professional debut with Antonio Márquez's company at the Teatro Real Opera House in Madrid in 1997 with El sombrero de tres picos by Antonio Ruiz Soler. Throughout his professional career, he has been a member of the companies of Antonio Márquez, Joaquín Cortés, Luis Ortega, Rafael Amargo, Rafael Aguilar, Danzadas, Arrieritos Flamenco, Estévez/Paños y compañía, Rojas y Rodríguez, Dançem, Enclave español, Princesa cangrejo dance company, Flamencos en route, Losdedae, Cía Rafaela Carrasco and Emilio Ochando y Cía., among others.
He has worked on various productions for the Teatro de la Zarzuela in Madrid with stage directors such as Luis Olmos, Calixto Bieito, Jesús Castejón, Amelia Ochandiano, Emilio Sagi, Graham Vick and Gustavo Tambascio at the Teatro Real Opera House in Madrid.
As a dancer and actress, she has worked in La niña que riega la albahaca y el príncipe preguntón (The Girl Who Waters the Basil and the Nosy Prince) by choreographer and director Fuensanta Morales, Bestiari by Nuria Castejón and Rafa Castejón, Ola y Olé directed by Alberto Velasco for Rojas y Rodríguez Cía., Escríbeme un cuento (Write Me a Story) by Cía. Arrieritos Flamenco y Ambulantes Teatro, Zarzuela en Danza directed by Nuria Castejón.
and dramaturgy by Álvaro Tato, or Dies Irae, in Mozart's Requiem, by Catalan creator Marta Carrasco.
She won third prize at the 11th Spanish Dance and Flamenco Choreography Competition in Madrid with Serenas in 2002. She also participated in the Patas de gallo project with the piece Lola, Lolita, Dolores. She also created Lo que deja el viento, invited by Antón Jiménez to choreograph one of his compositions. Together with Alberto Ferrero, she directed and choreographed the piece A la limón, which won an award at the Alcobendas International Competition in 2012. And, together, they developed the project Polvo, nada y viento at Teatros del Canal in 2022.
More recently, she has premiered and toured with Rafaela Carrasco's Nocturna and Fernanda Orazi's Electra; and in 2025 she will premiere Parcas: La voz, el ojo, la carne (Fates: The Voice, the Eye, the Flesh) at Teatros del Canal.
Javier Ballesteros
Actor. Trained by Juan Carlos Corazza, Fernanda Orazi, Pablo Messiez, Manuel Morón, Hernán Gené and Fernando Piernas, among others, this Madrid-born actor has appeared in series such as Respira, Historias para no dormir, Sin identidad, Apaches, La Zona, Justo antes de Cristo, Hospital Central, La pecera de Eva, and in the feature films Sordo by Alfonso Cortés Cavanillas and Como la Espuma by Roberto Pérez-Toledo. In 2018, he won the Best Actor award at Notodofilmfest for the short film Matar, for which he also wrote the script and directed.
In theatre, he participates in La Ola by Marc Montserrat Drukker at the CDN Teatro Valle-Inclán, Las Canciones by Pablo Messiez at the Teatro Pavón Kamikaze, La incertidumbre by Pablo Remón at the María Guerrero Theatre, Que no by Jesús Cracio at Naves del Matadero, Ficciones and Cluster, both by Juan Ceacero and the Exlímite company at Naves del Matadero and Teatros del Canal, and Los Brutos by Roberto Martín Maiztegui at the CDN Teatro Valle-Inclán; he is also part of the cast of Electra by Fernanda Orazi.
Although his professional theatre experience began with the ErrequeErre company in La Tempestad and Salomé. He has worked as an actor in Fernanda Orazi's plays Encarnación, El Futuro and El rumor analógico de las cosas.
She is also assistant director to Fernanda Orazi in El rumor analógico de las cosas (The Analogue Murmur of Things) and in Cuatro Confesiones (Four Confessions) by Bárbara Santa-Cruz, premiered at Fringe14, and to Estefanía Cortés in La Casa de la Portera (The Gatekeeper's House). His interest in stage direction led him to form the company MUJER EN OBRAS in 2016, where he also writes, premiering the productions La, Cucaracha con paisaje de fondo and Ese toro que no veíamos at SurgeMadrid, Festival de Otoño and Festival Sala Joven de Teatro Urgente. In 2023, he won the Max Awards for Best New Author and Best New Show with Cucaracha con paisaje de fondo.
Leticia Etala
Actress. Bachelor's degree in Dramatic Arts from ESAD in Torrelodones, Madrid. In 2007, after completing her final year, she continued her acting training outside Spain: in New York at the New York Film Academy, in Paris at the École Jacques Lecoq, and in Buenos Aires, under the guidance of actress Cristina Banegas, at El excéntrico de la 18. Upon her return to Madrid, she continued her training with various active artists, notably Fernanda Orazi, combining her training with her work as an actress.
Among her most notable theatre works are Electra by Pílades Teatro, winner of Best New Show at the 2024 Max Performing Arts Awards, directed by Fernanda Orazi; Medea directed by José Carlos Plaza; Encarnación by Fernanda Orazi; and Cluster and Ficciones directed by Juan Ceacero from the Exlímite company. She is currently part of the cast of Niebla, also directed by Fernanda Orazi, which will premiere at Nave 10 Matadero in 2026.
Notable films include Solo by Hugo Stuven and Yucatán by Daniel Monzón. The film Isla en Isla, directed by Alexis Morante, will be released in 2026, and she has also appeared in the film Yo no moriré de amor, directed by Marta Matute, which will also be released in 2026. On television, he has been part of the cast of the series Seis Hermanas and El Secreto de Puente Viejo for Televisión Española and, for Netflix, Las Chicas del Cable. He has also participated in the series Barrio esperanza by Globo Media, also for Televisión Española.
Pablo Montes
Born in Cádiz in 1989, he began acting at the municipal theatre workshop in Puerto Real at the age of 13. Here he came into contact with the work of José Luis Alonso de Santos, Fernando Arrabal and Alfonso Zurro, among others. At the age of 20, he moved to Seville to further his professional training at the Seville Acting Laboratory under Sebastián Haro, Antonio Campos and Maripaz Sayago, among others, and premiered the shows Poncio Pilato with the EdeTeatro company and Farsa y licencia de la Reina castiza by Valle-Inclán, directed by Manolo Rodríguez. He complemented his training with clowning courses with Pepe Viyuela and audiovisual creation with Javier Olivares and Félix Viscarret.
In 2019, he moved to Madrid to attend the Work In Progress school with Darío Facal and, at the same time, began working with Fernando Piernas' technique. He also studied Classical Theatre and Verse with Ernesto Arias and learned from other theatre professionals such as Carlos Tuñón, Alberto Velasco and Pablo Messiez. In addition, he will undertake annual training with Fernanda Orazi and has now joined the cast of Pílades Teatro for their new production: Niebla.
In 2025, he was selected to be part of Abadía 44, a training project sponsored by the Teatro de la Abadía, where Fernando Piernas, Mar Navarro, Lidia Otón, and Ester Bellver, among others, will teach classes. In addition, he is awaiting the premiere of Sola Mente Tú with La Sinruedines.
He has worked on the Atresmedia series Cardo, Camilo Superstar and ¿A qué estás esperando? as well as Grasa for RTVE, and the feature film La primeracita by Jesús Ponce.
Juan Paños
Actor. He began working as a magician at the age of twelve and discovered theatre through clowning, training with Hernán Gené and Gabriel Chamé. He later graduated as an actor from the Mar Navarro and Andrés Hernández Theatre School, following the teachings of Jacques Lecoq's Physical Theatre.
In 2016, he joined the Teatro de la Abadía in Madrid, where he focused primarily on voice work with Ernesto Arias, Vicente Fuentes and José Luis Gómez. He completed his training as an actor under the guidance of actress and director Fernanda Orazi, with whom he continues to work.
As an actor, his most recent works have been in Miguel del Arco's La Patética at the National Drama Centre, and in Andrea Jiménez's Casting Lear (MAX Awards 2025 Best Show and Best Version) at the Teatre Lliure in Barcelona and the Teatro de La Abadía in Madrid, where he also premiered Fernanda Orazi's Electra (Godot Award for Best
Dirección, Premios MAX 2024 Mejor Espectáculo Revelación y Mejor Versión).
Previous highlights include Valle-Inclán's La cabeza del dragón (The Dragon's Head) directed by Lucía Miranda and MAN UP or La distancia (The Distance), both by Andrea Jiménez and Noemi Rodríguez, at the National Drama Centre. At the Teatro Español, El Sueño de la Vida (The Dream of Life) by Alberto Conejero and Federico García Lorca, directed by Lluís Pasqual. And at the Teatro de La Abadía, María Luisa by Juan Mayorga and Dos nuevos entremeses nunca representados (Two New Never-Performed Interludes) by Miguel de Cervantes, directed by Ernesto Arias. He also appeared at the Teatro Circo Price in Madrid in 2019 and has been on an international tour since 2017 with the monologue Rámper: vida y muerte de un payaso (Rámper: Life and Death of a Clown) by Imanol Ituiño.