Boadella studied dramatic art at the Institut del Teatre of Barcelona, at the Centre Dramatique de l'Est (Strasbourg) and corporal expression in Paris.

His works tended to have a strong critical and satirical charge, especially in relation to perceived established powers, most frequently the Catholic Church.

Returning to Spain in the 1980s, he continued to create controversy with works such as Teledeum and Ubú president, which presented strong criticisms of Jordi Pujol and Salvador Dalí.

[1] In December 2006, he premiered a work in Madrid in the format of a medieval debate entitled Controversy of the bull and the bullfighter, where reasons for and against the tradition alternate.

[2] In his memoirs, Boadella rebuffs the criticism of the latter groups: No one has insulted me with more pleasure, viciousness and fanaticism than those who practice anti-bullfighting with their beatific antiviolent mask.

Albert Boadella in his youth was close to Catalanist positions and, in general, to the Catalan anti-Francoist left, of which he was a cultural icon due to his actions in supporting the Nova Cançó.

After the restoration of the Generalitat de Catalunya, and after the production of Operació Ubú (which parodied Jordi Pujol and confronted him with the governing nationalism), he became closer to the Socialists' Party of Catalonia, then in the opposition.

Boadella is belligerently opposed to the "Catalanist drift" to nationalism that he attributes to the Socialists' Party of Catalonia as a result of the Pact of Tinell [es] and the policies of Catalan socialism under Pasqual Maragall's leadership.