Banished from love, immersed in her bed of shadows, there she lies, restless:  Doña Juana, the queen, the stranger, the bereaved, the stranded, the captive. They say she is insane and will soon die. To her abyss of shattered humanity reaches Teresa, the nun, the one from Ávila, God’s pursuer, the bearer of brightness.
Light defies darkness. Darkness withstands. In their souls, war breaks out.

In the clash, Juana’s present cracks through the dark chinks of old wounds resistant to oblivion and forgiveness. Her history breaks into shards of memories, furies, loves, defeats, fears, dreams and betrayals.
Facing up to the uneasy heart and far from becoming disheartened, the obstinate light goes deeper in its strategy.
Adriana Genta.

ABOUT THE PLAY AND STAGING.

The queen’s physical and mental degeneration grows to dramatic overtones.
Father Borja, seeing he can do nothing to help the insane’s soul be at peace with God, requests Teresa of Avila, an affable nun who is believed to have a certain gift of speech, mercy and the ability of understanding, be taken to Tordesillas. Here comes up the encounter between two passionate women. Though different the object of their passion, it is the same feeling what binds them together. The two women are faced with a wall, which is insurmountable from sanity and reason. Juana’s incredible life and her 40 years of captivity affect the nun profoundly. The Lady, this other woman who does not exist, who is not but a diluted Juana, essence, reflection and memory of a life already slipping away, is in herself the space of memory, the time for remorse as well as forgiveness. So intangible as Juana’s delusions or Teresa’s visions, and so true at the same time.