Ramon Villegas Guix (Manlleu, 1978) is a creator and director. He trained as an actor with various teachers in Barcelona and Madrid. He has worked on several television projects such as Com si fos ahir, El cor de la ciutat and La que se avecina, as well as in film productions such as Lola, la película, by Miguel Hermoso, and What about love, by Klaus Menzel. In 2009, he was awarded a grant for his first collective creation piece, MMM+KBFP. In 2010, he began working as a performer with the company Societat Doctor Alonso in the productions Àcid Folklòric and Club Fernando Pessoa. In 2014, he presented his first solo creation, Hombre Bala Unplugged, which he performed in Melbourne, Wellington, Mae Chaem (Thailand), Japan, and at Catalan festivals such as Trapezi de Reus and Nunoff de Barcelona. He has also taken part in experimental projects with Alex Reynolds, Idurre Azkue, Sílvia Delagneau and Nora Ancarola.

As a director, he made the short film MORT, selected by Damer House Gallery in Tipperary (Ireland) and the Loop Festival Barcelona in 2020. In 2022, he premiered Una dona jove, a short film that received the Special Jury Mention at the Manlleu Film Festival and was also screened at The Source Arts Centre in Thurles (Ireland) in 2023. In 2025, he premiered the short documentary L’últim arròs, together with filmmaker Marc Parramon, selected by the Transhumant Festival and screened in Basel (Switzerland). He is currently collaborating as an outside eye on the theatre piece Alienus, by Catalan creator Rocío Berenguer, who is based in Paris, and working on his own original stage work A la merda tot, which will premiere on 9 October 2026 at Teatre Atlàntida de Vic.

A la merda tot

Residence Abril 2026

A la merda tot is a hybrid stage piece that explores, through physical theatre, live music, video and text, an autobiographical narrative with a science-fiction, futuristic and humorous tone. The project reflects on the meaning of life at a moment of individual and collective rethinking marked by a widespread sense of collapse. From a clearly feminist perspective, it questions the inherited patterns of the alpha male and proposes a critical view of patriarchy, imagining new ways of being a man in a world in transformation.

The central thematic axis of the piece is the revision of patriarchy and the intergenerational transmission of violence and silence. The proposal is situated from the point of view of the creator’s mother, a victim of a sexist family system, and articulates a narrative that transforms personal wound into collective reflection. At the same time, the project is also rooted in the tension between classes and castes —between landowners and sharecroppers— and reivindicates access to cultural space for voices historically silenced, coming from humble, rural backgrounds.

One of the project’s singularities lies in the life trajectory of its creator: a person from a humble rural environment and an oral tradition, who began his theatrical journey at the age of nineteen after having devoted his youth to the family trade of livestock dealing. This background permeates the piece with a distinct voice and runs through both its content and its form.

Formally, A la merda tot organically integrates diverse languages —physical theatre, live music, video, text and metatheatre— and plays with digital tools such as filters and apps like Instagram or Snapchat to generate technological characters within the piece. All this unfolds without renouncing an intimate, homemade and approachable tone, faithful to the proposal’s analogue roots. The project is built through a choral and shared leadership, with the collaboration of Eva Marichalar in the conceptual and artistic sphere, Guillem Roma in the design and musical and audiovisual staging, Rocío Berenguer as support in technological design and live digital mask work, Xevi Oró in space, scenography and lighting, and Laura Garcia in costume design.