The spectators come in one by one inside the room. The work has already begun. While each one seeks their place, on the scene, what can be a funeral office advances. The priest speaks Latin, like a litany, the dead in the middle, his family and his friends in tears. The role has started, even if the public does not know.

We want to be fires: dead theater, family and pets, Poza of the Metrokoadroka Creation Laboratory: Why do the Bosnians dance? It regroups the components of the previous work. As usual in this group, disciplines such as the use of the body, poetics, performance, music or painting will be mixed, always with the theater as a path and as a goal.

The works dedicated to the Metrokoadroka are called by the critical post-dramatic theatre, to say that beyond drama, history or fiction, there is more theatre. One of the characteristics of this post-dramatic theater is its authenticity: Those on stage are not characters in a concrete text, but people, even if they are actors and immersed in the magic of theatre. Metrokoadroka is a work of collective creation and, in the play Su izan nahi, the actors will start their own experience and in this case, Javi, Oier, Axi, Idoia and Ander will talk about all their deaths. Not only that, the main metaphor of theater, Javi da Javi, Oier da Oier -- they're going to talk about the stage of their real name and their own being.

It is a contemporary and innovative theatre. The goal is to demolish the fourth wall of the black box that is the scene, extending in some way an invitation: “Go onstage and tell us all your dead.” It makes you want. The major props are a row of three-seat armchairs that adapt to the attitude of the public. Thus, from the front, the actors will applaud the public, they will live with the public breaking the thin line that separates the scene from the patio of armchairs, and they will tell us with total naturalness what will happen in the next scene.

However, it cannot be said that the core of this work is death, but a beautiful and poetic song made to life. And that's just why it deserves attention. They will use humor, although, in some moments, the story is hard. “It’s not a comedy to use and sometimes the spectator doesn’t know when to laugh or when it hurts,” Actor Javi Barandiaran tells us after the play.

Fuegos wanted to see her inside the Loraldia Festival, in the hall Pavilion 6. The festival, which has been centred on Basque creation, has attracted Basque culture and Euskera to rooms and unusual spaces in Bilbao – for example, in the Guggenheim auditorium the bertsos of Uxue Alberdi and Oihana Bartra were heard. Hall 6 was filled, as was the other events organized by the festival. In other words, the Basque creation fills the theatre in the same way. We'd like to know what he thought of his managers.