Inventions
L'animal a l'esquena (Celrà)
From 12/11/2020 to 16/11/2020
Mal Pelo
( Mal Pelo )
L'animal a l'esquena (Celrà)
From 12/11/2020 to 16/11/2020
Mal Pelo
( Mal Pelo )
Adaptation of Mal Pelo’s 2020 creation for the Festival Temporada Alta, co-producer of the piece along with the Grec Festival de Barcelona.
Inventions focusses on the relationship between live music and dance, placing the results of this research in spaces that, due to their resonance or architecture, make possible the magic triad of space-music-movement.
In each venue, Inventions will adopt a different form in keeping with that specific place.
We work with the depth and height of the space, with its resonance, and ensuring a good view for the audience.
We observe the particulars of the space for a few days to discover and reveal its potential for performance and sound.
The first stage of this new project will take place in 2020 at the following festivals:
Grec Festival Barcelona-Festival Bachcelona and Festival Internacional Temporada Alta de Girona.
Inventions focusses on the relationship between live music and dance, placing the results of this research in spaces that, due to their resonance or architecture, make possible the magic triad of space-music-movement.
In each venue, Inventions will adopt a different form in keeping with that specific place.
We work with the depth and height of the space, with its resonance, and ensuring a good view for the audience.
We observe the particulars of the space for a few days to discover and reveal its potential for performance and sound.
The first stage of this new project will take place in 2020 at the following festivals:
Grec Festival Barcelona-Festival Bachcelona and Festival Internacional Temporada Alta de Girona.
For this project our team of performers is made up of:
String quartet: Joel Bardolet, violin/ Jaume Guri, violin/ Masha Titova, viola/ Daniel Claret, cello
Voice quartet: Quiteria Muñoz, soprano/ David Sagastume, countertenor/ Mario Corberán, tenor/ Giorgio Celenza, bass
Quartet of dancers: Pep Ramis, María Muñoz, Federica Porello, Zoltàn Vakulya
THE MUSIC
The music weaves together fragments of the Cantatas with parts of the Partita II (with special emphasis on the version of the Ciaccona for quartet of voices and violin) and selected pieces from the version for string quartet of the Art of the Fugue. The musical director is Joel Bardolet, while Quiteria Muñoz leads the quartet of lyric voices under his general direction.
Fanny Thollot, composer and sound engineer, creates a soundscape to accompany the baroque music that creates landscapes from it and picks out details of the space, moving the sound into different zones of perception and working on its distribution and dimensions.
Discovering the resonance of spaces becomes an exercise, not only in listening to the quality of the music, but also in experience and perception. The sound transforms the space and lends it poetic qualities that are intangible but undeniable.
The sound inhabits the space just as we humans do, and reveals fictions, evocations and landscapes that resonate with us.
Just as the space changes the sound, so the sound changes us, who change the space, in a circle of influence that we can note and allow to form part of the drama of the piece.
Our ongoing research into these influences forms the basis for the construction of each proposal for each new space. The group of musicians and dancers take part in this quest, both physically and through their personalities on stage.
THE SPACE
The aim of Inventions is to seek out the particular sound and performance characteristics of each place, the architecture and dynamics of the space where we are performing the piece.We look into the history, materials, light, resonance and capacity for transformation of the chosen venues.
Listening out for these features makes possible a process of revelation of performance potential and the construction of unique proposals tailored to the surroundings.
A space offers us its life, its building materials, its light and the presence of the people who have inhabited it. A process of immersion that through documentation, listening and imagination allows us to reveal the sometimes hidden poetry of each place, of each space.
We work with the possibility of using natural light, the sedimentation of the layers and traces left by time, and paying special attention to the framing of the piece, the angle and point of view of the spectator.
All artistic forms are specific ways of thought; they represent ways of thinking sensorially and corporally that are characteristic of every artistic medium. A way of making existential and metaphysical philosophy through space, structure, matter, gravity and light. Singular buildings express our own experience.
“Mental images are registered in the same part of the brain as visual perceptions, and have all the authenticity of experiences seen by our own eyes.”
Juhani Pallasmaa
arquitecto
String quartet: Joel Bardolet, violin/ Jaume Guri, violin/ Masha Titova, viola/ Daniel Claret, cello
Voice quartet: Quiteria Muñoz, soprano/ David Sagastume, countertenor/ Mario Corberán, tenor/ Giorgio Celenza, bass
Quartet of dancers: Pep Ramis, María Muñoz, Federica Porello, Zoltàn Vakulya
THE MUSIC
The music weaves together fragments of the Cantatas with parts of the Partita II (with special emphasis on the version of the Ciaccona for quartet of voices and violin) and selected pieces from the version for string quartet of the Art of the Fugue. The musical director is Joel Bardolet, while Quiteria Muñoz leads the quartet of lyric voices under his general direction.
Fanny Thollot, composer and sound engineer, creates a soundscape to accompany the baroque music that creates landscapes from it and picks out details of the space, moving the sound into different zones of perception and working on its distribution and dimensions.
Discovering the resonance of spaces becomes an exercise, not only in listening to the quality of the music, but also in experience and perception. The sound transforms the space and lends it poetic qualities that are intangible but undeniable.
The sound inhabits the space just as we humans do, and reveals fictions, evocations and landscapes that resonate with us.
Just as the space changes the sound, so the sound changes us, who change the space, in a circle of influence that we can note and allow to form part of the drama of the piece.
Our ongoing research into these influences forms the basis for the construction of each proposal for each new space. The group of musicians and dancers take part in this quest, both physically and through their personalities on stage.
THE SPACE
The aim of Inventions is to seek out the particular sound and performance characteristics of each place, the architecture and dynamics of the space where we are performing the piece.We look into the history, materials, light, resonance and capacity for transformation of the chosen venues.
Listening out for these features makes possible a process of revelation of performance potential and the construction of unique proposals tailored to the surroundings.
A space offers us its life, its building materials, its light and the presence of the people who have inhabited it. A process of immersion that through documentation, listening and imagination allows us to reveal the sometimes hidden poetry of each place, of each space.
We work with the possibility of using natural light, the sedimentation of the layers and traces left by time, and paying special attention to the framing of the piece, the angle and point of view of the spectator.
All artistic forms are specific ways of thought; they represent ways of thinking sensorially and corporally that are characteristic of every artistic medium. A way of making existential and metaphysical philosophy through space, structure, matter, gravity and light. Singular buildings express our own experience.
“Mental images are registered in the same part of the brain as visual perceptions, and have all the authenticity of experiences seen by our own eyes.”
Juhani Pallasmaa
arquitecto