What are we doing with these lives that we don’t want?
What do you have to concede to the world, in this sick world?
The idea comes from the conflict generated when two realities meet, clash, coincide in the same place from different points of view. A body’s impetus adapts to situations it cannot understand. It’s as if reason were escaping reason.
Who has the power to change their way of seeing things? Is there a certain difficulty in perceiving another truth with empathy? The perception of a reality should not come into question. So, how do we relate to each other?
Burnt [the eternal long now] is a performance piece created by LEEVAKULYA.
Burnt takes a close look at the dynamic relationship between union and exhaustion through burnt-out syndrome. According to the Dutch sociologist Fred L. Polak in his book The Image of the Future (1961), “Every man leads a double life.” For Polak, this dualism was the indispensible requirement for the movement of the events in time and the dynamics of historical change.
CONDENS will be a salon piece, a dance solo with set and visuals.
A new investigation of movement, in which Magí hopes to research relationships of form, dynamics and rhythm between the human body and matter. Spaces of vibration between the mineral or vegetable and flesh and blood. A dialogue between kinds of movement, textures, lines and beats, far from the urgency or fragility of the present world.
After his previous pieces, the street duet COSSOC and the project Brotes Transhumantes, in which he worked outside on slowly developed, detailed and sensitive projects, he now takes the opposite tack: bringing the reality and spontaneity of the outdoors into the theatre.
Mascarade, inspired by the rituals found in ancestral interactions, but also in the daily lives of those who practise them. These are always changing and are unique because they are linked to specific social contexts and are collectively identified with particular symbols.
The photographs of Charles Fréger in his book Wilder Mann moved me with their extreme beauty, but above all because of what they tell us about our lives today. Other work on masks and carnivals, in particular La Maske by Phyllis Galembo, made me ask myself what these ancient and contemporary rituals mean. Do we still need to celebrate the change of the seasons, rites of passage, initiations and so forth? With the inevitable standardisation of the world, will they simply turn into folklore for tourists, or will we find the way to resist and reinvent them?
L'animal a l'esquena (Celrà) From 15/07/2022 to 17/07/2022 Presentation : On 16/07/2022 at 19:00 in L'animal a l'esquena (Celrà)
La Verema ( La Verema )
L’Arreplegada is an event set up by the group La Verema, in collaboration with L’animal a l’esquena.
An arts event with the aim of offering a space for young artists from the local area to share their work. It is a gathering to encourage creative communication between the participants, who come from a variety of disciplines and creative fields, helping them to set up close-knit networks.
Desierto is based on the piece Timber by the US composer Michael Gordon. It will combine dance with an innovative sound design. The idea is to reinterpret the musical piece through a unique immersive experience.
The show, designed for six musicians and three dancers, aims to emphasise the austerity and physicality of the sound content and communicate it to the audience. It will consist of dance close up to the spectators, with sound amplification that focusses attention on the subtle and delicate shifts of the music of Michael Gordon, placing the audience at the centre of the sound.
One singular feature of the project will be the arrangement in concentric circles of audience, dancers and musicians. The musicians will be at the centre of the piece, as the visual axis and backing curtain for the dance.
What if the theatre were a space between heaven and earth, between the past and the future? What would happen if this place were filled, in turn, by memories of when we humans were not yet cut off from nature and the current prophesies of the end of the world?
In R.A.V.E, Cecilia Colacrai is alone on stage, trying to investigate, through movement, our instict for preservation. Using an intense relationship with the vibration of sound, she evokes the primitive to display a range of physical states. With extraordinary plasticity and capacity for resistence, she transforms herself over and over again, taking her body to the limit to make us imagine new beginnings.
In this undefined space, Cecilia does not speak for herself, but through her body, about the finite nature and the future of our species. Here, dance is presented as a trigger for fiction, offering a language that allows us to imagine ways of life beyond the walls of the theatre.
Eu - yo (en portugués)
Eu - bueno, bien (prefijo griego)
Euteria - Sentimiento bueno y positivo de unidad con la Terra
“Eu” habla de la conexión con la tierra que nos ha visto nacer; nuestra tierra, la tierra de todas, la de nuestras abuelas. Es un laberinto performático, una experiencia multidisciplinar donde las diferentes formas de expresión a través del cuerpo, de la escultura, de la música y de la imagen proyectada conviven y se retroalimentan. Una experiencia donde la danza se funde, se confunde y convive con la escultura y la música para reflexionar sobre el renacer constante, el vivir y morir, el Yo individuo, el Yo universal y la Naturaleza.
Los informalls are addicted to risk, to taking the difficult path, throwing themselves into the abyss of facing up to everything beyond their control and all life’s struggles, breaking out of their comfort zone and treading the very limit of their capabilities. The aim of their new piece is to return to play and exploration of the ridiculous as research methods. This time their starting point is the hypothetical creation of a musical album … only fate will decide how this all ends. A possible premier in 2023, at the very least!
MORTA SPLENDOR is a research and performance creation project that aims to explore our consciousness of death, questioning death itself as well as our spiritual and social relationship with it. The idea is to bring in different ways of looking at death: the death of the theatre, the death of values, of relationships, of eras. Could the end be a new beginning? Bárbara Sánchez, in this new creation process, intends to explore a collection of existential metaphors through which to draw closer to the consciousness of the public. She traces a broad arc, from the precariousness of her own life as an artist to the supposed death of western societies.
MORTA SPLENDOR is also an act of liberation and an exaltation of life. As Octavio Paz said, “Our cult of death is a cult of life”. For this, Bárbara Sánchez’s alter ego will appear in many forms throughout the piece: as a mistress of ceremonies, a painter of vanities, a “finisher-off” (or mid-wife of death), or a mourner.
The project Desbordes/Excesses looks into the human need for evasion and the creation of alternative identities as a means of escape from everyday limits and the emptiness of the human condition. Through excess, artificiality and indulgence, its characters come up against a reality that they cannot contain, in a constant search for fantasy and unreality. The project investigates the concepts of overflow and containment in relation to the aesthetics of performance, corporality and choreographic language. The limits of harmony, restraint and appropriateness are questioned, aiming for a physical and aesthetic effusion in times of containment and austerity.
Territorio Mutado is a site-specific project that operates in stages. It uses the existing situation as a framework of possibilities to risk a singular format, content and relationships. It exists at the converngence between flows of movement, bodies of different kinds and the surroundings; it observes the movement where we have paused.
Urban environments are built over water basins that run beneath the land or asphalt. These basins are usually administered according to engineering criteria that do take into account biological adaptability and this is how the collective imagination begins to work around water.
Water is changeable, hard to grasp and dilutes everything, characteristics that get in the way of the intended sense of progress. It happens that these are also characteristics of dance. At the same time, if we broaden our focus of observation, we see that every basin is linked in a huge network of larger basins, and is thus a great connector of the territory.
Territorio Mutado observes how an environment opens up a culture and how the culture opens up the environment in a symbiotic relationship in which directions dissolve away and a complex network of relationships is established.
In its first stage, it travelled along 170km stretches of the Matanza Riachuelo and Río Salat basin in Argentina, as well as the Guaies basin in Ecuador, crossing mega-metropolises, cities, conurbations, towns, countryside and little local viallages. At this stage the project had the support of many national and international institutions.
At present it is at work on the Arroyo Vega, the only basin that begins and ends within the jurisdiction of the city of Buenos Aires. This stage is backed by the Autonomous City of Buenos Aires.
By tuning into certain textures of movement we can take apart the patterns of tension that form the fulcrum around which bodies flow. Investigating the textures - and recording the sounds - of the interior of a body in motion in a technological space, a semi-anechoic chamber: frictions, steps, spasms, clicks, tinnitus, blows, air currents and so many other phenomena emitted by the body in motion. Through the formal process of recording in the chamber, we create a soundscape. A study of the relationships between textures of vibration and their anatomical correlations as a procedure to construct the choreography and state of the body. An exercise in kinesthetic attunement. We have to think of our flesh.
At the seashore, the movement of the tides highlights the way life gives and takes without explanation or mooring. In Platea, everything vanishes before our eyes at times, as if it were an illusion, and then appears again. We make out the fall, the echoes. At the centre, which is firmer, a table is laid for a banquet and a dish shimmers, presiding over it all like a master of ceremonies. Whoever comes and goes, faint and disorientated, like a ship-wreck survivor or a mermaid, once had a life and a death, and his or her body still wavers between these. They seem like witnesses of the remains of some debauchery but their dazzling teeth still lie in wait.
Platea is a piece of theatre that has grown from the unique imagination of Tripak. It is the vision of a fantastical world in which images and gestures emerge from the unconscious before being turned into a discourse in this shared creative space, using archetypes and basic actions and emotions. The work is based on symbolic, dreamlike material but this is far from stereotypical, using the evocative, renovating power of absurd humour, and valuing the strange, or even extraordinary.
Infinity is Julia and Rudi's first dance theatre meditation in which they guide the audience through a mystical journey. The outside world of the magical dance on stage will merge with your internal awareness. The premise is movement and consciousness, becoming aware of the infinite power that flows to and through us, giving life to all beings.
This is the first production where they explicitly bring together their shamanic powers to fuse with their signature choreographic movement language.
This is the first production where they explicitly bring together their shamanic powers to fuse with their signature choreographic movement language.
Throughout the years of Julia and Rudi’s worldwide ventures into meditation, energetic channelling, yoga, plant medicine and personal development they tapped into their internal power and felt called to share a work of art that aligns with their mission to raise human consciousness. During their creative career, they strived for a link that bridged their artistic expression with their spiritual path. ? is the culmination of their personal holistic approach, sculpturing a new way to experience a dance production, in which the theatre setting becomes a sacred space conducive for internal realisations. ? opens a door through which the audience is invited to tap into the infinity we all contain within.
During this Dance Theatre Meditation, you will be receiving energetic transmissions both through words and movement, channeled by Julia and Rudi and embodied by the stunningly fluid dancers. The cosmic tribe on stage was formed through an intensive time in the dance studio as well as sacred rituals in Nature, connecting beyond the physical realm. All group sessions started with a gratitude practice, tapping into the power of our open hearts. ?
The whole research and final production was, is and will continue to unfold as a sacred ritual of movement, light and sound, reminding us of the cosmic dance we are all a part of and the infinite potential of our future becoming.
We invite you to enter into the spirit of Infinity.
As an artistic form, choreography is notable for combining rigorous physical and mental training with the highest standards of creativity. Dance is, however, also the most ephemeral of all the arts, and this extraordinary creativity emanating from the body tends to vanish without any significant trace. This piece focusses on how the creativity that radiates from the experience of the body can be captured and form the basis for artistic creation in other disciplines.
Embodied Machine is based on an experiment with translating the human body into abstractions that can serve as foundations to be transformed into other aesthetic manifestations. Is it possible to synthesize light and sound based on our movement and interact with these presences as if they were fellow dancers? Is it possible to look deeper into our knowledge of creativity associated with the body (embodied creativity) through forms of artificial intelligence? These are some of the questions that Embodied Machine attempts to answer. Muriel Romero relates on stage in this piece with avatars of herself manifested in the form of light and sound, presences that behave autonomously and with which it is possible to interact in a multi-sensory dialogue.
From the Greek pan (all) and horama (view), the word panorama was popularised by the Irish painter Robert Baker (1787) to describe his circular paintings. In his wide landscapes the artist created an immersive experience that invited contemplation, and so reflection. What is our place in this landscape?
In the same way, Raquel Gualtero asks us to enter a contemplative state in which, through her body, we travel through different imaginings that seem strangely familiar to us. The whole piece is freighted with recognisable gestures that, through repetition, become infinite choreographies. The dancer’s body is at the centre of this landscape. Fitted with a second skin that conjures post-human futures, this body invites you to enter a trance as the only way to reach an intimate, unique and untransferable place, that is not a photocopy of anything or anyone. A place pierced by a voice that belongs to us and which transforms the moulds we have made for ourselves. This place in the landscape may perhaps be strange, inhospitable and unexpected, but it is certainly one we long for.
L'animal a l'esquena (Celrà) From 21/02/2022 to 26/02/2022
Kif Kif cie ( Kif Kif cie )
ous, la forêt - ou comment se planter is the first piece by the company Kif Kif, made up of Baptiste and Lucas Bouissou, two young artists and performers who work in the language of the circus, clowning and movement, accompanied in this first joint project by the musician Alexis Barbier.
A tree/the path to follow
A musician?/the gardener? God? Or mother?
Two almost identical men/two children
An apple/the gravity of the situation
At the foot of the tree, he finds his place. These two grown up boys compare themselves to each other, twirl, bump into each other, hold each other up and eat the apple. With juggling and poetic-metaphysical questioning, these naive explorers experiment with the laws of gravity. They reclaim the right to sink upwards, to turn their upper and lower parts and progress in life. To the beat of drums, falls and suspensions, they spread their branches and their imagination with lighthearted humour and tenderness.
L'animal a l'esquena (Celrà) From 14/02/2022 to 19/02/2022
( Magda Garzón
Bachelardiana - un duermevelas is a choreo-chronical study of darkness and cracks in faith. A study because it takes place in a studio. A study because it should recall the shadows around the contemplative saints in their studies. A study because “studium” in Latin means the patience of desire and the desire for patience. Inspired by the inner movements of confession, it calls up a darkness and revelation that allow the music of Bach to think about itself.
“Before the Words: Temporary Shelter”, is an open and shared reflection with the Mal Pelo collective. For the third time in its career of over 30 years, Mal Pelo has articulated a de-located staging that accentuates and pushes the concept of “exhibition”, expanding their invitation to the bodies of those visiting the museum galleries. Isn’t the greatest exhibition the one that encompasses bodies? Aren’t we always being exposed to something?
This exhibition is the result of a working process carried out over various phases. The first was done in the Mal Pelo creation space, called L’animal a l’esquena [Animal on Your Back], while the second took place in the museum. In fact, ways of understanding the institution itself have also been driven to the limit, thinking of ways to inhabit and conceive it from the perspective of creation.
The project’s potentiality lies in the visualisation of bodies in exhibition, absolute, free and wild; here, exhibition is taken in the most radical, poetic and violent sense of the word. In this way, the show becomes a receiving place, a shelter, run through by parallel universes that temporarily live somewhere else. A shelter opening up to dynamics that tend to infuse other spaces, a receptor of personal memories arising from close contact.