(Creation Residence )
L'animal a l'esquena (Celrà)
From 29/11/2021 to 11/12/2021
Presentation :
On 09/12/2021 at 19:00 in L'animal a l'esquena (Celrà)
Magdalena Garzón
En el nombre de Bach/In the Name of Bach is the new proposal for a performance piece by María Magdalena Garzón, following the line of research begun three years ago exploring the relationship between music and dance in performance.
While the story of the relationship between these two art forms makes us think deeply about the main artistic movements, their manifestations, aesthetics and procedures, this project, at least for now, does not claim to be a work of history or research into baroque music and dance. Bringing the two languages together, however, is an attempt to recover the essence of the gestures, in sound and body, of a shared grammar, without filters or conventional baggage. Working on music written earlier, whether or not it was composed for dance, provides a concrete, well-defined framework to work within, while also offering a broad range of possibilities and strategies for composition. In this way, in short, Bach’s work gives us a forest full of symbols, a whole continent of the unforeseen. Its vast complexity and semantic ramifications lead us to unpick the poetry of a process of craftsmanship, to work on references from our cultural heritage, and put our emphasis on the minute detail of the manipulation of the material as an element in composition. En el nombre de Bach is thus based on a desire to give due value to music that has already been written, is already made.
En el nombre de Bach is a piece of dance and music in the form of a trio. From the vast musical repertoire of the composer Johann Sebastian Bach, I have chosen, for this occasion, the Art of the Fugue (Die Kunst der Fuge), BWV 1080. This piece, unfinished at the time of the composer’s death, was composed with the idea of a set of examples of the techniques of counterpoint. Its apparent harmonic simplicity - as if it were a study - and the fact that it is constructed using independent movements that can be combined, alternated or repeated, gives us a versatile framework that is suggestive for choreography.
My time working at L’animal will be used to consolidate the choreographic material, take a deeper look at the details of the movement, and make a final configuration of the different elements of the staging.
Choreography and direction: Maria Magdalena Garzón
Assitant to direction: Mauricio Sierra
Creation and performance: Èlia Genís, Almudena Pardo, Héctor Puigdomènech
Musical consultant: Marta Oro, Jordi Alomar
Set design and lighting: Oriol Corral, Octavio Mas
Wardrobe design: Cecília Molano
Lighting design: Octavio Mas (to be confirmed)
Rehearsal assistant and external overview: Roberto Fratini, Lipi Hernández
Support in developing the project:
Institut del Teatre de Barcelona, with whom Magdalena has had ties since studying for her advanced choreography qualification in 2014.
Catàleg d’Activitats Culturals del Consell de Mallorca, platform working to promote the performance arts in the island and with which she has had ties since 2013. https://web.conselldemallorca.cat/cataleg
Amics de l’Orgue d’Alaró (Mallorca), association working to promote old music and to conserve the island’s native instruments. They hold a regular programme of concerts at the church of San Bartolomé de Alaró.
Festival Espurnes Barroques, which promotes traditional music in various regions of Catalonia. Magdalena has had ties with them since 2018, when she presented a piece made specifically for the Santuario del Miracle, accompanied by the organis Juan de la Rubia. https://www.espurnesbarroques.cat/
Centro de creación eiMa, Maria de la Salut, Mallorca.
L'animal a l'esquena (Celrà)
From 29/11/2021 to 11/12/2021
Presentation :
On 09/12/2021 at 19:00 in L'animal a l'esquena (Celrà)
Magdalena Garzón
En el nombre de Bach/In the Name of Bach is the new proposal for a performance piece by María Magdalena Garzón, following the line of research begun three years ago exploring the relationship between music and dance in performance.
While the story of the relationship between these two art forms makes us think deeply about the main artistic movements, their manifestations, aesthetics and procedures, this project, at least for now, does not claim to be a work of history or research into baroque music and dance. Bringing the two languages together, however, is an attempt to recover the essence of the gestures, in sound and body, of a shared grammar, without filters or conventional baggage. Working on music written earlier, whether or not it was composed for dance, provides a concrete, well-defined framework to work within, while also offering a broad range of possibilities and strategies for composition. In this way, in short, Bach’s work gives us a forest full of symbols, a whole continent of the unforeseen. Its vast complexity and semantic ramifications lead us to unpick the poetry of a process of craftsmanship, to work on references from our cultural heritage, and put our emphasis on the minute detail of the manipulation of the material as an element in composition. En el nombre de Bach is thus based on a desire to give due value to music that has already been written, is already made.
En el nombre de Bach is a piece of dance and music in the form of a trio. From the vast musical repertoire of the composer Johann Sebastian Bach, I have chosen, for this occasion, the Art of the Fugue (Die Kunst der Fuge), BWV 1080. This piece, unfinished at the time of the composer’s death, was composed with the idea of a set of examples of the techniques of counterpoint. Its apparent harmonic simplicity - as if it were a study - and the fact that it is constructed using independent movements that can be combined, alternated or repeated, gives us a versatile framework that is suggestive for choreography.
My time working at L’animal will be used to consolidate the choreographic material, take a deeper look at the details of the movement, and make a final configuration of the different elements of the staging.
Choreography and direction: Maria Magdalena Garzón
Assitant to direction: Mauricio Sierra
Creation and performance: Èlia Genís, Almudena Pardo, Héctor Puigdomènech
Musical consultant: Marta Oro, Jordi Alomar
Set design and lighting: Oriol Corral, Octavio Mas
Wardrobe design: Cecília Molano
Lighting design: Octavio Mas (to be confirmed)
Rehearsal assistant and external overview: Roberto Fratini, Lipi Hernández
Support in developing the project:
Institut del Teatre de Barcelona, with whom Magdalena has had ties since studying for her advanced choreography qualification in 2014.
Catàleg d’Activitats Culturals del Consell de Mallorca, platform working to promote the performance arts in the island and with which she has had ties since 2013. https://web.conselldemallorca.cat/cataleg
Amics de l’Orgue d’Alaró (Mallorca), association working to promote old music and to conserve the island’s native instruments. They hold a regular programme of concerts at the church of San Bartolomé de Alaró.
Festival Espurnes Barroques, which promotes traditional music in various regions of Catalonia. Magdalena has had ties with them since 2018, when she presented a piece made specifically for the Santuario del Miracle, accompanied by the organis Juan de la Rubia. https://www.espurnesbarroques.cat/
Centro de creación eiMa, Maria de la Salut, Mallorca.
