I grew up convinced that the Tooth Fairy lived in my grandmother’s pantry and that at the end of Little Red Riding Hood she was the one who ate the big bad wolf. As storytellers, my grandmother and my mother created new imaginary worlds for me. Imaginary worlds shape social roles and these, in turn, shape behaviour patterns. This maxim is woven throughout my writing, where female characters predominate and there are two recurring themes: the conflict that arises when there is a desire to be something or someone in an environment that does not allow it, and the continuous questioning of words such as homeland, home or family.

I do not write from the solitude of my desk. Instead, I use a recorder, do interviews or develop collective creation workshops with a community. Documentary theater or forum theater are the labels for contemporary dramaturgy that begins with the other, to the point of transcribing word for word as I do with verbatim pieces, or generating participatory structures where the gaps are filled by the public.

In the end I write to be able to travel to places such as Miami, Guayaquil, La Paz or Buenos Aires. To share food with their people, lose myself in their family photo albums, listen to them; to be them, a little, through their stories.”


Lucía Miranda - Publicación Alicias Buscan Maravillas

Alicias buscan Maravillas

Dentro del V Laboratorio de Escritura Teatral
SGAE | 2017

Lucía Miranda - Publicación Fiesta, Fiesta, Fiesta

Fiesta, Fiesta, Fiesta

V Programa de Dramaturgias Actuales
INAEM | 2016

Lucía Miranda - Publicación Nora1959

Nora, 1959

Autores en el Centro
Centro Dramático Nacional | 2015