Figueres a Escena

Behind the curtain: a look inside the dressing room

The dressing room is a sanctuary. It is the place where actors transform, where silence meets concentration, and where centuries-old rituals blend with personal quirks. Long before the house lights dim and the audience settles into their chairs, a quiet world hums behind the stage, filled with whispered lines, stretched vocal cords, and superstitions passed down through generations of performers.

At Figueres a Escena, the dressing rooms in Teatre El Jardí and Sala La Cate carry the same magic found in any great theatre around the world. They are small spaces where big stories begin, where actors prepare to step into roles that may have been written centuries ago or only yesterday. From the local ensembles of the Empordà region to touring companies from across Europe and beyond, these rooms host a universal language of preparation and belief.

The quiet before the curtain rises

Every actor knows that the moments before stepping on stage are sacred. The dressing room becomes a cocoon, separating the performer from the outside noise of traffic, phones, and daily worries. In cities like Melbourne, where the theatre scene thrives around Southbank and the Melbourne Theatre Company, dressing rooms often feel like hidden temples. They are usually compact, lined with mirrors surrounded by lights, and cluttered with costumes, props, and personal items that have followed the actor from show to show.

A typical pre-show period might involve an hour of focused preparation. Some actors prefer total silence, sitting still and centring their breath. Others pace the small room, reciting lines while gesturing at an imaginary scene partner. Many blend both worlds, alternating between stillness and movement. The dressing table becomes an altar of sorts, holding scripts covered in handwritten notes, a cup of herbal tea, or a treasured object from home.

Pre-show rituals: from vocal warm-ups to lucky charms

Rituals in the dressing room vary wildly from one performer to the next. Vocal warm-ups are nearly universal, especially for singers and musical theatre performers. Humming, lip trills, and sirens help the voice find its centre. Physical warm-ups follow, with actors rolling their shoulders, stretching their necks, and shaking out tension from their legs and back.

Beyond the practical, superstitions run deep. Many performers refuse to utter the name of the Scottish play inside a theatre, referring to it instead as the Bard's play or simply that one. Others avoid whistling backstage, a tradition dating back to the era of fly systems where a whistle could cue a stagehand to lower a sandbag. Lucky charms are common: a small stone from a childhood garden, a gift from a mentor, or a battered script that has survived a hundred performances. In Sydney, actors might carry a token from the harbour, while in Adelaide, during Festival season, a sprig of wattle tucked into a costume pocket is not unheard of.

Superstitions that travel from stage to stage

Theatre superstitions form a global tapestry. The ghost light, a single bulb left burning on an empty set, is believed in many cultures to keep the spirits of the theatre at peace and to light the way for any returning ghosts. Saying break a leg instead of good luck is thought to ward off the evil eye of complimenting a performance before it happens. Flowers are traditionally given only after a performance, never before, and they are usually sent to the dressing room rather than handed directly on stage.

Some traditions are more regional. In Spain, including the Catalan theatre scene where Figueres a Escena operates, it is common for the entire company to touch a wooden object before opening night for good luck. In Russian theatre, actors often spit over their left shoulder before stepping on stage. In Australian theatre, particularly around Brisbane's QPAC and the historic Twelfth Night Theatre in Bowen Hills, many performers observe a moment of silence in memory of colleagues who have passed, a ritual that blends respect with a touch of melancholy.

Inside Teatre El Jardí and Sala La Cate

Figueres a Escena operates two main performance hubs: Teatre El Jardí and Sala La Cate. Each has its own character, and each hosts its own unique energy. Teatre El Jardí, with its central location and elegant history, welcomes touring productions, local theatre groups, and ATEB students who are beginning their stage journey. Sala La Cate, more intimate and experimental, often hosts contemporary dance, small-format music, and avant-garde performances.

The dressing rooms in these venues have seen countless pre-show rituals. From opera singers running their arias one last time to circus performers testing their balance on the cool tiles, the rooms adapt to every discipline. Workshops, rehearsals, and community talks also pass through these spaces, making the dressing rooms a place not just of preparation but of learning. It is here that students from ATEB, the organisation's theatre school, first learn the discipline of warming up the voice and the body before stepping in front of an audience.

Echoes from down under: dressing room life in Australia

Australia has a rich performing arts culture that spans from the iconic sails of the Sydney Opera House to the vibrant independent scene in Perth. In Sydney, dressing rooms in the Opera House are legendary, some offering performers a view of the ferries crossing between Circular Quay and Manly. In Melbourne, the heritage theatres of the East End host everything from Shakespeare to contemporary Australian works, and their dressing rooms are often steeped in history, with original wood panelling and brass fittings that have welcomed generations of actors.

Australian actors carry their own mix of global and local traditions. Many follow the British and American customs of break a leg and ghost lights, but they also bring a laid-back larrikin spirit. It is not uncommon for a performer in Brisbane to share a flat white with a fellow actor before curtain, or for a Sydney company to gather for a group hug and a quick laugh before a heavy drama. Footy banter might sneak into the dressing room during AFL season, and a well-timed joke about the cricket can break tension before a serious monologue.

From dressing room to digital stage: sharing the magic

While the rituals inside the dressing room remain intimate and personal, the work that happens around each show reaches far beyond the stage. Marketing teams work tirelessly to capture the essence of a production, turning pre-show nerves, costume fittings, and warm-up sessions into content that audiences can enjoy online. If you have ever wondered how our marketing team creates social media content for each show, it is a process that blends storytelling and behind-the-scenes curiosity. From short videos of actors rehearsing in the dressing room to interviews captured just after a performance, the digital world extends the magic of live theatre into phones and laptops across the globe.

This connection matters especially in regional communities. For audiences who cannot always travel to Barcelona or Girona, a social media post might be the first spark of interest in a show at Teatre El Jardí. A snapshot of a dancer stretching in the Sala La Cate dressing room might inspire a young person to enrol in classes. In this way, the quiet rituals of the dressing room ripple outward, touching lives far beyond the stage.

Rituals worth bringing to your next performance

Come experience the rituals, the performances, and the community of Figueres a Escena. Book your next visit to Teatre El Jardí or Sala La Cate through figueresaescena.com and step into the world where stories come alive on stage and beyond.