In May 1991, five young actresses, recently graduated in the Instituto de Teatro of Barcelona, opt for not consuming beside the phone waiting for the call of a director requesting them. This is the reason which moves them to set up something on their own account. They meet with Pere Sagristà, who has just graduated with them, and he proposes them to read the volume Pequeños cuentos misóginos (Little misogynistic stories), by Patricia Higsmith, published for the first time in 1977.

Fascinated by the mordacity and irony of the tales, they decide to commence to work with the material of the North American authoress.

In this first mounting, the company is compelled to bet on the scenic simplicity: two tabourets, one table, one formica chair and one ear-chair are the only scenographical elements. So, the main weight of the spectacle correponds to the text and the interpretation of Mamen Duch, Rosa Gàmiz, Míriam Iscla, Carme Pla and Àgata Roca. In the successive mountings, the company keeps up this scenic simplicity which becomes one of its main rules.

They create the company for presenting in society their Pequeños cuentos misóginos and give it the name T de Teatre, owing to the fact that all of them like tea.

The first performances of their first spectacle can be seen in the alternative circuit (La Cuina, Sala Beckett, Fira de Teatre in the Carrer de Tàrrega), but the interest which it arouses among the spectators makes that the spectacle starts a peregrination through diverse houses (Mercat de les Flors, Villarroel Teatre) and a tour over a large part of the Peninsula (they participate in several festivals and act in numerous towns of Spain), getting an excellent acceptance both by the criticizers and the public. They receive the Premio de la Crítica de Barcelona a la Revelación Teatral de la Temporada (Prize of the Criticizers of Barcelona for the Theatrical Revelation of the Season).

In 1994, and after more than 300 representations ironizing about women, they made the first performance of their second spectacle: ¡Hombres! (Men!)

The spectacle is represented for the first time on the Mercat de les Flors of Barcelona and, thanks to the response of the public, it remains on the show-bill for six months. Thereafter, they start an extensive turn all over Catalonia and over all the Spanish towns. Rosa Gàmiz decides to initiate her career alone and the actress Marta Pérez joins the company.

In August 1995, they arrive to the capital to cover a vacancy of one month and a half in the summer programmation, but the success surprises them and ¡Hombres! remains for one uninterrupted year on the show-bill of the Marquina. This triumph in the capital is decisive for the company and allows them to accede to the commercial circuits of turns.

In January 1997, they are proposed to cross the seas. The Teatro La Plaza in Buenos Aires takes up for three months the last representations of ¡Hombres! The company promises to perform the first representation of its next spectacle in that town.

And they keep their promise. In April 1998, at the same theatre in Buenos Aires takes place the first representation of Criaturas (Creatures), the last creation of T de Teatre, in which for the first time, there are four actresses who are on the stage. In this mounting, Àgata Roca exerts as assistant director.

They arrive at Barcelona in September and settle at the Teatro Poliorama with a great success by both the criticizers and the public. They initiate a turn all over Catalonia.

And they return to Madrid, to the Teatro Lara, where Criaturas remains for eight months on the show-bill. After this long season, they go for a turn all over Spain and return again to the Teatro Poliorama to conclude the spectacle.

In May 2001, they begin to film for TV3 a situation comedy, ideated by the proper company and the cinema director Cesc Gay, the title of which is Jet Lag. This supposes the first incursion in television of T de Teatre.

C de cifras (C of figures)
T de Teatre has brought into being three spectacles and performed more than 1,700 representations, to which have assisted more than 660,000 spectators.