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This book is an homage to that tenacious antagonism, not an instrumental document to validate the subsequent imitators of the Mobile Theater. Although it is impossible to list everyone who contributed to this effort, there are some people who need to be mentioned by name. I would like to thank Javier Navarro de Zuvillaga for his continued help with this research, for his generosity, commitment, friendship and acuity. Thanks are also due to María Teresa Muñoz for her keen revisions of the manuscripts and our long conversations about the period it deals with. To Angela Kay Bunning for her excellent translation into English. To Ricardo Devesa, editor in chief at Actar, for his confidence in this project from the outset. To José Miguel de Prada Poole and Antonio Fernández Alba for our meetings and conversations about their work. To María and Diego Fullaondo for their warm generosity. To Antonio Cobo for his patient research and friendship. To Francesco Moschini, from the Accademia di San Luca, and Elena Tinacci, from the MAXXI in Rome, for their kindness regarding the reproduction of images. To Arnold Aronson for his valuable insight into Environmental Scenography in North America and for his pioneering work in the field. To Juan José Montijano for his contagious enthusiasm for popular variety theater. To Ken Turner and Tony Murchland
for their warmth and sincerity in talking about their lives with a stranger. To Richard Schechner and Joanne Pattavina (Jerry Rojo’s widow), for their generosity with my requests. To Toni Martin for his availability to answer my doubts and questions. To Peter Sciscioli, from Meredith Monk’s Studio, for his kindness and great help. To Gerzy Gurawski for his complicity during a memorable phone conversation. To Antoni Verdaguer for his complicity. And to Raphael Chau, from Jeffery Shaw’s Studio, for his disinterested contribution. Finally, I would like to deeply thank the many people from the libraries and archives I have consulted for their help over such an extended period of time. This book has been produced thanks to the funding provided by two research projects from the National Research Plan of the Ministry of Education of Spain: Expanded Theatricalities HAR2015-63984-P, and The New Loss of the Centre. Critical Practices of the Live Arts and Architecture in the Anthropocene PID2019-105045GB-I00, but also thanks to the Schindler Prize, gained by my former student Elías Sancho de Agustin and myself, with Elías’s Thesis Project at the School of Architecture of Universidad de Alcala. I deeply thank Elías Sancho, the School of Architecture, and the support of Julio Arce and Rosa Amat, who lead this initiative of the Schindler Group Elevators.
