(Creation Residence With production support from the Ayutamiento de Celrà )
L'animal a l'esquena (Celrà)
From 09/08/2021 to 14/08/2021
Federica Porello
El aspecto sensorial de las cosas is an investigation into the pairing of fragmentation and coordination, applied to thought, movement and the other “things” that make up the identity of a performance piece. It is a project fuelled by a desire to share, in the journey towards the creation of a solo, in interviews and workshops, the questions that arise in the theoretical and physical landscapes that are traversed in the writing of a piece of work.
In the past 15 years I have lived through some 30 creation processes, with different teams, different performance languages (dance, theatre, shadow theatre, theatre of objects, puppet theatre), in different roles (as a performer, creator, assistant director), and for varying amounts of time (between a few hours and four years). I have always been aware of the intensity and richness of these fractions of shared time in these micro-societies, in constant search of a balanced way of working and feeling propelled towards the moment when the piece will be presented to the public.
This kind of journey involves confronting various types of questions, be they collective or individual, a constant need to take decisions, more or less intuitive, at group level, efficient or coherent. These contribute to building the identity of the creative organism and finally to the work itself.
L'animal a l'esquena (Celrà)
From 09/08/2021 to 14/08/2021
Federica Porello
El aspecto sensorial de las cosas is an investigation into the pairing of fragmentation and coordination, applied to thought, movement and the other “things” that make up the identity of a performance piece. It is a project fuelled by a desire to share, in the journey towards the creation of a solo, in interviews and workshops, the questions that arise in the theoretical and physical landscapes that are traversed in the writing of a piece of work.
In the past 15 years I have lived through some 30 creation processes, with different teams, different performance languages (dance, theatre, shadow theatre, theatre of objects, puppet theatre), in different roles (as a performer, creator, assistant director), and for varying amounts of time (between a few hours and four years). I have always been aware of the intensity and richness of these fractions of shared time in these micro-societies, in constant search of a balanced way of working and feeling propelled towards the moment when the piece will be presented to the public.
This kind of journey involves confronting various types of questions, be they collective or individual, a constant need to take decisions, more or less intuitive, at group level, efficient or coherent. These contribute to building the identity of the creative organism and finally to the work itself.
