Joan Ponç’s gouache painting Comença el gran ball de les bruixes (1951) inspires Laia Noguera to write a play. It resembles a mirror with a personality of its own, a mirror that is mutant and alive, which takes pleasure in creating his own laws for interpreting the universe. As Carles Hac Mor warns in his foreword, “Laia Noguera’s motto is that, if one tries to percieve, nothing will be percieved; or that, if one wishes to express something, nothing will come of it. Therefore, this proposition of ideological war is a plea against will, against intention. In other words, if by writing one wants to express or comunicate something, it won’t do, and, if one wants to express nothing at all, many things will be expressed, many diverse and even contradictory things”.
Laia Noguera i Clofent (Calella, 1983). Bachelor in Catalan Philology by the University of Barcelona, she has published the poetry collections L’oscultor (Amadeu Oller prize, 2002), Fuga evasió (Recvll prize, 2003), Incendi (2005), No et puc dir res (Martí Dot prize, 2006), Els llops (2009; co-written with Esteve Plantada and Joan Duran), Triomf (Miquel de Palol prize, 2009), L’U (2010), Parets (2011), Caure (Ausiàs March prize, 2011) and Rius soterrats (2011; artist book). She has also published a stage adaptation of Anselm Turmeda’s Disputa de l’ase jointly with Albert Mestres (2009). She has done translation work from the Basque, Italian, Galician and Occitan languages. Several of her poems have been translated into Basque, Amazigh, Portuguese, Occitan, French, Italian, English and Spanish.