La Poderosa has invited me to do a broadcast of the piece Escorzo as part of Hacer Historia(s)/Making (Hi)stor(y)ies.
This solo, created in 2003, was forged during a period which began for me when I started working with Oscar Dasí and Carmelo Salazar in 1995. At that time I was acting as a life model for Fine Arts students. The role of being observed as a body-object to be drawn or painted in real time gave me the foundations, the questions and the starting point to construct the kind of presence and movement that inhabits this piece.
The project grew out of the two choreographers’ poetic and emotional need to express where they are in their lives. To go back, perhaps, over everything they have experienced, the music they like, the actions on stage that most move them or best represent them, their shared and individual interests and take it all further, to somewhere new. A fresh and truthful place.
The starting point is a line or row of people in the space.
The performers are placed in a premeditated order from left to right, dancer next to performer: Raquel Gualtero - Núria Guiu - Magí Serra - Quim Bigas - Pere Jou - Txalo Toloza.
At first sight it’s a little anecdotal to begin a project in this way. It’s very simple, the interest lies in how the body in motion and its outward appearance relates within the structure of a ballet. How can we make a ballet between Dancers and Performers? How can they be mixed? What advantages and disadvantages will they each have? How can they each be themselves and at the same time form a single body? What will this combination of profiles have to offer?
The term Aporia refers to reasoning where insoluble contradictions or paradoxes arise. Aporias appear as logical difficulties that are almost always speculative. In relation to this, and to the way we work on intimate matters in order to be able to represent them in performance, we asked ourselves a series of questions to set ourselves in motion. The chief one of these could be how to choreograph a relationship that is coming into being.
WeWood is a conversation between three characters who hide and reveal themselves through their relationships with objects. A polyphony of surreal situations in which abstract movements become a refuge, an escape from the tangible present, an opening to an imagination awoken by listening to the things that surround us.
Federica Porello, Marine Broise and Xavi Moreno investigate the bridges between dance and the manipulation of objects. They are chiefly interested in the relationship between movements and things, and specifically in how to make movements concrete and things abstract.
This residency will be the last stage of the creation process for the piece We Wood, an L’animal a l’esquena associate project, before its premiere in August at the MIMA Festival in Mirepoix
Jonàs is a proposal for physical action, spoken poetry, body and voice drama delving into human existential angst. A ritual to overcome the claustrophobia of living, taking as its starting point the myth of the whale that swallowed Jonah and kept him inside its giant stomach.
In this residency Joan Miquel wants to complement and go further into the movement work he began with Jonàs, evoking themes of solitude, the decline in spirituality, the struggle against his own phantoms, the metamorphosis implied by recognising the beast in oneself.
Perhaps we should begin by talking about the tension in a rope, how it behaves in a gentle breeze, the possibility that something may happen that shouldn’t, and maybe then quote Didi-Huberman (On the Tightrope): “The wire links, threads and guides. Or rather, on the contrary, it slices, sharpens and breaks. The wire always hangs by a thread. Such is its beauty - its beautiful danger - and its fragility”, and then go on to tell how the first thread appeared, that it was horizontal and crossed the space from one wall to another, a tightrope walker’s wire, at neck height, invisible. Somehow or other we should begin to describe the tension in something that is there without being seen so as, somehow, to get to grips with it, get down to business, find the unsaid word as easily as a needle pierces a glove, let it spin, finish, follow its path, empty itself, hit the earth with every fall, with every blow, defend itself, invent itself, invent every story and every metaphor, play, fail, be nothing, not be.
A tightrope is exactly that - tight.
Since I began creating I have been interested in seeing how the traces of a person’s history sculpt and mould their body. I am especially curious about personal stories and intrigued to observe how someone’s identity is the result of all the experiences he or she has lived through, how this complex process includes intellectual, emotional and physical aspects.
As a choreographer I am particularly interested in how a dancer’s character and personality is expressed in their movement and gestures.
The Group LaBolsa was formed in 2012 by seven performers-artists, who shared common concerns in relation to investigation of movement based on scores. A part of the interest of this work lies in the fact that this method allows space for performers to apply their own creative intuition in a live performance.
The group’s aim is to organize meetings with choreographers who have been an important inspiration for the work and the artistic development of each of the members of laBolsa and at the same time are at the moment referential because of their own improvisation practice and performance language.
In April we shall resume rehearsals for Pep Ramis’ solo, premiered in October 2017 at the Théâtre l’Archipel in Perpignan, France. Mal Pelo will spend two weeks in residence to revise the work and prepare for performances in Mallorca and Valencia in April and later the Mercat de les Flors in Barcelona in May and Cadiz in June.
The Mountain, the Truth and Paradise is a poetic world questioning the meaning of divinity and vulgarity, spirituality and ignorance, beauty and banality.
The performer’s ability to transform himself into a bare, blank space, and precision of movement and voice are the main aims of the score of this piece, which offers a journey full of variety, feeling and stimulation.
Throughout the creative process, Pep has had the support of Jordi Casanovas and María Muñoz as directors, August Viladomat as lighting designer and Fanny Thollot as designer of the sound track.
N'habite avec intensité que celui qui a su se blottir.” Gaston Bachelard
The work of Mal Pelo crosses over between different disciplines and natures and opens up a dialogue between them. The work in this residency will centre around research into the installations Mal Pelo has built to make their place known, by creating ambiences that stretch from the stage to spaces shared with visitors/spectators. By carrying out this research in situ, through conversation, archives and memory, I hope to be able to recover in writing that atmosphere of shared presence that is one of the most significant features of these installations. Our starting point is to focus on the way ecological concepts and choreography are used as threads leading through the spaces where Mal Pelo offers us the opportunity to inhabit poetry.
Salvajes is the second part of La edad de la carne, a study and creation project on ageing bodies.
In this process we are setting out to look at the idea of choreography (written movement) as if, more than an artistic discipline, it were an agreement between everything that moves. The question is, how far can choreography be a meeting space between different natures, different bodies, different times?
A starting point for the work: to trace the spaces where anatomy ceases to be inwards from the skin to become a point of contact with another or the other.
L'animal a l'esquena (Celrà) From 19/03/2018 to 27/03/2018 Presentation : On 30/03/2018 at 18:30 in Philharmonie de Paris (Paris) On 30/03/2018 at 21:00 in Philharmonie de Paris (Paris) On 31/03/2018 at 16:00 in Philharmonie de Paris (Paris) On 31/03/2018 at 18:30 in Philharmonie de Paris (Paris) On 01/04/2018 at 16:00 in Philharmonie de Paris (Paris) On 01/04/2018 at 18:30 in Philharmonie de Paris (Paris)
María Muñoz will perform her solo Bach, which recently won the Premi Ciutat de Barcelona de Dansa 2017, for the second time in Paris. In 2013 the performances were held at the Théâtre les Abbesses – Théâtre de la Ville de Paris. This time they will be at the Philharmonie de Paris, in a special new version. Bach will be performed by both María Muñoz and Federica Porello, with the music performed live by the French-American pianist Dan Tepfer.
This is a collaboration between the Philharmonie de Paris, Cité de la Musique and the Théâtre de la Ville de Paris.
Fall (provisional title) is a poetic, physical, sensory and musical study of the passage of life through a body, in the way that time passes through a leaf until the inevitable moment when it lets go and falls. From the vantage point of my attachment to life, I see letting go as the image of that leaf abandoning everything that holds it to surrender to the air and the earth, with no going back. Or perhaps as returning to being the child who plays just for the sake of playing, with the whole universe revealed in her play.
Piero Steiner, Andrés Corchero, Pep Ramis and Enric Ases have known each other for a good while now. After bumping into each other from time to time on stage, in the autumn of 2015 they decided to get together seriously to pool their particular ways of doing things, their views on theatre, movement and the world of performance. Different disciplines and languages harnessed to a desire for synthesis, engagement, drive and discovery. Four men of the same age, the same height and with the same aim: a search for new horizons of expression and a shared language that would enable them to reach spectators right in their gut.
L'animal a l'esquena (Celrà) From 12/02/2018 to 16/02/2018
El Club ( El Club )
Piero Steiner, Andrés Corchero, Pep Ramis and Enric Ases have known each other for a long time now. After their paths had crossed several times by chance on stage, they decided in the autumn of 2015 to form a serious association to share their particular ways of doing things, their views on theatre, movement and the world of performance. Different disciplines and languages put to the service of a desire for synthesis, engagement, momentum and discovery. Four men of the same age and height and with the same aim: to seek out new areas of expression and a shared language that would enable them to reach directly to the core of the spectator.
L'animal a l'esquena (Celrà) From 05/02/2018 to 09/02/2018
Xavi Bobés ( Xavi Bobés )
In 2018 Xavi Bobés will begin work on a new creation project for 2019 (1), make the short film Restos de cosas/Remains of Things with Salvador Sunyer (2), continue to work with Andrea Díaz (3) on the creation of the piece Arquitectura, memoria y objetos/Architecture, Memory and Objects (provisional title) and carry out the second and third projects of El Solar (4). He will combine these activities with performances of the piece Cosas que se olvidan fácilmente/Easily Forgotten Things around Spain and Europe.
Casa is a meticulous exercise in broadening the crack that appear in our everyday reality and shake our little universes. It is a project that sees the hole as the most interesting part of the wall.
At home we always feel that reality is woven around us by everyone who is there in the same place. We inhabit a space and people it with meaning, sound and movement. What is more, we like to believe that this reality we create is natural and ontological, firm and stable. It is not. Every reality is merely apparent, relative and fragile, full of holes, tubular and often contradictory.
For a long time the French-Spanish border has been a phantom or abstract line of geographical separation. But it is also a very concrete natural frontier: the Pyrenees. As a voluntary exile in France for the past fifteen years, Marta Izquierdo Muñoz explores this frontier in this new project, travelling along it physically, taking an interest in its landscape and legends. Her choreographic imagination takes inspiration from the Pyrenees, that natural frontier haunted by tragic migrations like that of Republican exiles after the Spanish Civil War.
It is a theatre project co-directed by Maite Jáuregui and Pau Aran Gimeno, based on a multi-disciplinary, creative exchange of ideas.
Maite Jáuregui performs on stage while Pau Aran Gimeno guides and helps with the work. Together, they have developed and polished the story of Una, a writer who we join in her imaginary world to discover the events that have determined her present, less ideal situation.
This proposal, with the aim of expanding my choreographic language, exploring another musical format and developing sound and space, is centred around the body; around bodies, rhythm and the essence of the guitar. It focuses on everything near to us that brings us closer to our own heart-beat. Natural materials and their textures, pots and pans, the table, cooking utensils as tools for “battle”. The guitar stripped bare, percussion, rudimentary singing, feet dragging across the floor, shoes or voices that make us call on other bodies, all these come to life on stage to create, through a shared folklore that has been re-written, re-travelled and revisited, a multifaceted flamenco performance.