Part of the Tapete Común programme for Casas de Creación (creative centres) in rural spaces. Collaboration between Eima Creació and L’animal a l’esquena.

Tapete Común is made up of:

Azala Creación in Lasierra, Vitoria: https://www.azala.eus/
L’animal a l’esquena, Celrà, Gerona: https://lanimal.org/
EiMA Creació, Maria de la Salut, Mallorca: https://eimacreacio.com/
A Casa Vella, Amiadoso, Orense: https://acasavella.gal/es/inicio/

Set up in 2015, Tapete Común has created a dialogue based not only on the programmes of each centre, but also in relation to what it means to reclaim and defend a creative space in small towns, as opposed to the cities that accrue most of the resources for performance production and research. Year by year, we have consolidated this program of communication and reflection.

The Mallorcan word NUS:
Tight entanglement of the parts of one or more flexible bodies
Us
Nudity

NUDES sets out to explore the relationship and entanglement of bodies through tenderness, both wild and caring. How can we translate vulnerability into a physical impulse in dance? Does an instinctive, free body have a more friendly relationship with the environment? How do we translate the act of caring into movement? These three questions will be the motivation to set our minds and bodies in motion, and above all to unite us and help us find ourselves as artists and performers.

During our two weeks at Celrà, we will chose the most meaningful choreographic material from previous residencies and continue our research into the nudes/knots/us of bodies in space, exploring the tension between ferocity and delicacy, in a wild landscape where sensitivity is a kind of resistance. The residency will also be an intensive encounter with the creative team, where we shall share ideas and and visions and undertake internal/external feedback to evaluate the impact of the work.

“We are also interested in how to adapt the languages we find to specific contexts in the new physical space, since the place where a piece is created is essential for the research and so for the final result. We already experienced this with the residencies for S’ ALBUFERA, and it was very gratifying. We are sure that the setting of L’animal a l’esquena will make its mark on the piece.”

Part of the Tapete Común programme for Casas de Creación (creative centres) in rural spaces. Collaboration between A Casa Vella and L’animal a l’esquena.

Tapete Común is made up of:

Azala Creación in Lasierra, Vitoria: https://www.azala.eus/
L’animal a l’esquena, Celrà, Gerona: https://lanimal.org/
EiMA Creació, Maria de la Salut, Mallorca: https://eimacreacio.com/
A Casa Vella, Amiadoso, Orense: https://acasavella.gal/es/inicio/

Set up in 2015, Tapete Común has created a dialogue based not only on the programmes of each centre, but also in relation to what it means to reclaim and defend a creative space in small towns, as opposed to the cities that accrue most of the resources for performance production and research. Year by year, we have consolidated this program of communication and reflection.

Orpheus and Eurydice is an opera composed by Christoph Willibald Gluck with a libretto by Ranieri de’ Calzabigi. It was first performed on the 5th October 1762 in Vienna and is one of the most influential operas of the classical period, marking a change in serious opera, with a more direct, expressive style. It is based on the myth of Orpheus, the Thracian musician who descended to the underworld to rescue his wife Eurydice.
Gluck severely simplified the opera, eliminating the excessive ornamentation of the barroque and giving more weight to the integration of the music with the dramatic action.
Mal Pelo plans a version that will go beyond the original story, giving a new poetic and philosophical dimension to the tragedy of Orpheus and Eurydice. Mal Pelo’s counter-narrative centres on the fact that Eurydice has died by suicide; in the original libretto, the work begins with Eurydice already dead, with no explanation. The theme of Eurydice’s suicide and existential emptiness may open up new ways to reflect in a more contemporary and complex manner on love, suffering and death.