This chapter expands on the rehearsal process laid out in the preceding description of the rehearsals for El burlador de Sevilla. I also refer to witnessed rehearsals of Corneille's La ilusión under Carlos Aladro's direction, because this allows for a more rounded account of the Abadía process as a consistent entity even when rehearsals are led by different directors and with different actors.

Practice at the Abadía is solidly based on theories that originate from José Luis Gómez's own experience as founding member and creative motor. Gómez spent a significant formative period of his career abroad, generating a particular view of the state of Spanish theatre:

Gómez explains here that not only had no artist in Spain developed a significant theory or approach to theatre, but there was no culture of a practice-based theory being handed down. Like Els Joglars and Boadella, who had also noted the lack of theoreticians in Spain, Gómez had to turn to Europe for inspiration and training, bringing foreign models back to his home country: ‘Desde este espíritu se han configurado un elenco y un equipo habituados a un trabajo en sinergia, en la tradición de los teatros de arte europeos’ (Teatro de la Abadía, 2008).