There is a corpse under the carpet of our history, and it is called the 20th-century libertarian movement. A buried chapter without which, like it or not, it is impossible to understand who we are today: the culture of cooperativism, assemblyism, environmentalism, or nudism are born from there.
The company Mos Maiorum, an expert in documentary theater, joins forces with playwright Joan Yago (La Calòrica) to present Nosaltres, els sense nom (We, the Nameless), the memoirs of Joan Garcia Oliver. But they do not do so to worship the character, but to use him as a common thread for a collective story.
A work that shows us that utopia is not an impossible tale: it truly existed between June and September 1936 between Catalonia and Aragon, until we ran into the army and reality was truncated.
The proposal takes a journey that starts in the Industrial Revolution and passes through key moments in Barcelona such as the La Canadenca strike. But, beyond the history lesson, what it truly conveys is the strength of the working class. Seeing how they occupied the streets of Barcelona, how they filled theaters to capacity, and how their presence was majority moves you inside. It shows the unity, collectivity, and power of ordinary people when they organize.
Historical and documentary theater about Spanish anarcho-syndicalism
Joan Yago has recovered a history that often goes unnoticed in the country's memory: anarcho-syndicalism. With the figure of Joan Garcia Oliver and his biography titled Nosaltres, els sense nom, we delve into a historical journey set in the city of Barcelona. The La Canadenca strike as a symbol of the people's strength is one of the clear examples of what the workers' struggle can achieve in society, and from there, a picture of the anarchist movement is drawn, its origins, the ideals they defended, but also the internal contradictions and disagreements that always exist on the left.
The definition of the working-class strength in early 20th-century Barcelona is perfectly described with customary and common situations of the time, such as, for example, that workers were the ones who occupied the streets with their chairs, their conversations, their neighborhood gatherings. We are also reminded that factory workers were the main consumers of theater and would pack the halls of Paral·lel, the theatrical avenue par excellence where performances lasted until the early hours of the morning.
A very contemporary political reading
The working-class presence was majority in Barcelona and in this proposal, the strength they had, the collectivity, and the unity of the people are enhanced. This message takes on a very special meaning now that we are on the eve of elections and with a turbulent and agitated world.
During one of the many elections that took place during the Second Republic, the anarchists ran a campaign asking for "Do not vote" because, as they argued, no matter who you voted for, the working people would remain unprotected. It didn't matter if the left or the right won: workers would have to continue organizing on their own because their rights were never taken into account. This discourse is radically current, isn't it?
But, in this environment, there was also a counter-movement promoted within anarchism and, also, within left-wing parties: the mobilization for the useful vote. The situation sounds familiar again, doesn't it? At that time, anarchists were asked to vote for left-wing parties, even if their convictions were somewhat different, to prevent the advance of fascism. The unity of the left to prevent the victory of the right emerged then with the same force that it is emerging now.
The forgotten power of the people
Despite political strategies, the truth is that Nosaltres, els sense nom is a work that reminds us of the power of the people. It shows us that there was a brief, but intense, period in which the anarchist dream took place in our country. It was only three months, from June to September 1936, between Catalonia and Aragon the model defended by the anarcho-syndicalist movement was achieved.
And, no matter how much history books have overlooked this small triumph, it existed and in this work it is made visible and honored. So anarchism is not the story of a defeat: it is the story of a truncated reality, the dream that could have become real, but did not because the Spanish Civil War arrived.
Much of what works in the play is thanks to the actors. Ireneu Tranis (who also directs), Alba Valldaura and Xavi Duch do a very truthful and emotional job. The three move naturally on stage and manage to make you believe everything they are telling, going from the most sober moments to the most emotional without losing truth at any moment. There are many scenes that are truly emotional in this proposal. Above all, the moments in which they intone workers' songs, when they raise their fists and emulate that hope for a more egalitarian, more just, more free world. When we see in the eyes of the protagonists that illusion to change the world, to create a society where working people (who are the ones who move the world) are in the foreground.
A very interesting point of the proposal (and one in which Yago must be applauded for not having had any kind of modesty) is in the moment of also pointing out the Catalan political class. In the play, it is shown how all politicians try to take advantage of the strength of the anarchist movement to achieve their goal. Francesc Macià and Lluís Companys are even personified in scenes in which the anarchist's point of view is contrasted with the Catalan independence movement of the time. "Before being Catalan, I am an anarchist," defends Joan Garcia Oliver.
Data saturation and forced scenic experiment
Historical theater has the barrier that information can be somewhat overwhelming. And even though this proposal has opted to create an agile and dynamic work, the truth is that the context is very broad and, especially at the beginning, the data provided regarding dates, messages, political groups and historical figures can be confusing.
In addition, to create that feeling of collectivity and break with social hierarchy (even the hierarchy of the theater in which the stage acts as a barrier) it is decided to create a Row 0, that is, to place seats on the stage. This experiment is somewhat risky because the audience appears divided into two spaces for no real reason. In the end, the actors are forced to act in a 360º space and this means that, in that newly created row, some scenes or photographs that look better from the stalls can be lost.
Despite these small details, the truth is that Nosaltres, els sense nom is an exercise in historical memory necessary to remember the power we have when we unite. A message that resonates especially in our present and that, once again, shows us that knowing history is essential to avoid always making the same mistakes.