Adrià Gual i Queralt (Catalan pronunciation: [?ð?i'a '?wal]; Barcelona, 1872-1943) was a Catalan playwright and theatre businessman, founder of the Escola Catalana d'Art Dramàtic and a pioneer of cinema in Barcelona.
He founded El Teatre Íntim (The Intimate Theatre). He was Director of the Catalan School of Drama and artistic director of the film production Barcinógrafo (1913). Document important were his memoirs, published posthumously: Mitja vida de teatre (Half Life Theatre, 1960). As a plastic artist, focused on a modernist style typical symbolist ("La rosada" The dew, MNAC). He was one of the leading graphic artists of Modernism, emphasizing their posters. Finally devoted their efforts to the set of works assembled by him. It is well represented in the Library of Catalonia, where even the twelve panels are preserved in oil painted for the Wagnerian Association, around 1902.
He also dignify the Catalan drama, which he stood at the same level as in other modern nations. For this purpose he built a Catalan repertoire full of classics, contemporary and native size plays like Aeschylus, Molière, Shakespeare, Goethe, Pérez Galdós, Maragall, Àngel Guimerà o Santiago Rusiñol. At the same time, the creation of l'Escola Catalana d'Art Dramàtic (School of Dramatic Art, 1913-1934), the current seed of l'Institut del Teatre (Theatre Institute), helped institutionalize the Catalan theater. It was the first organization dedicated to teaching the performing arts.
Aiming to renew the drama from head to toe Catalan sign nineteenth century, alternated eclectic references, from Henrik Ibsen and Maurice Maeterlinck to Richard Wagner, to Gabriele d'Annunzio and Gerhart Hauptmann and aesthetic heterogeneous.
Gual grew as a playwright at the height modernist and symbolist poetry was soaking his early works. Nocturn. Andante. Morat (1896) and Silenci (1898), with decadent atmosphere and a very suggestive correspondence between music and colors and words.
The successful Misteri de dolor(1904) inaugurated a new period. First, Gual opted for a dramatic style of drawing more realistic, melodramatic and social, which is quite visible in Els pobres menestrals (1908). On the other hand, with Blancaflor (1899) opts for a combination of myth and song. He also made a foray into comedy with Les alegres comediantes (1905). Still, he ventured into the poetic theater, characterized by verse, scenic wonder and atmosphere with legendary Donzell qui cerca muller (1910).
In short, Adrià Gual regeneration, Europeanisation and the ennobling Catalan arts of the twentieth century