Creation Residence

L'animal a l'esquena (Celrà)
From 18/06/2024 to 30/06/2024
Presentation :
On 22/06/2024 at 19:00 in L'animal a l'esquena (Celrà)

INSTITUT STOCOS / Muriel Romero, Pablo Palacio
( INSTITUT STOCOS / Muriel Romero, Pablo Palacio )

ncubatio es a piece that combines dance, music, models of artificial intelligence, virtual reality and techniques of movement capture as part of a performance.
Incubatio is based on the archaic practice of the same name, which had its roots in Western Asia, on the distant fringes of the eastern Greek world.
A cure that consisted in lying down in a sacred place, a cave or temple, so as to enter into a state beyond everyday consiousness until you had a vision or powerful dream. Inspired by this practice, Incubatio is a performance piece that recreates these archetypal dreams or visions, with the help of innovative technology especially designed for this project. The piece combines dance, interactive music and visual imagerey.

 Creation Residence

L'animal a l'esquena (Celrà)
From 24/06/2024 to 29/06/2024
Presentation :
On 09/12/2024 at 19:00 in Teatre Ateneu (Celrà)

( Azkonatoloza )

a documentary project of science and fiction.

In this residency AZKONATOLOZA will continue researching their new piece CUERPOS CELESTES, the second part of FALLA, a new series of live arts research projects by these two artists.

After eight years travelling around Abya Yala with our Trilogía Pacífico, tracing the cracks left by colonialism and capitalist barbarism on the life of the planet, delving into the consequences of unregulated extraction and the geopolitical relationships that underpin all this, our questions were piling up:

Now what? Where are we headed?
What surface should we scour?
Which voices should we listen to?

The first clue was to be found in the last verse of Teatro Amazonas: “Now, what we have to do is stop and listen.”

Listening was the starting point for the new journey we embarked on with Canto Mineral, the opening piece of FALLA, the series of documentary research, speculative reality and science fiction that we are currently involved in. Because after years giving our attention to human stories and voices, who should we listen to now?

What if it wasn’t the humans, or the animals, or even the trees that would have the last word, as Joan Brossa wrote? What if it was the stones, the minerals or the electromagnetic waves?

University of The Arts i Stockton University

L'animal a l'esquena (Celrà)
From 26/06/2024 to 28/06/2024

Albert Quesada
( Albert Quesada )

Intensive workshop for the pupils of two American universities, the University of the Arts in Philadelphia, headed by Donna Faye, and Stockton University, New Jersey, also including students from the Instituto del Teatro in Barcelona. The workshop will be run by Albert Quesada and Leo Castro (who works for L’animal a l’esquena), in collaboration with the arts centres Fabra y Coats, El Granero de Barcelona and the Institutio del Teatro in Barcelona.

 Creation Residence

L'animal a l'esquena (Celrà)
From 01/07/2024 to 06/07/2024
Presentation :
On 06/07/2024 at 18:00 in L'animal a l'esquena (Celrà)

Javier Martín
( Javier Martín )

Beltenebros is a choreographic project by Javier Martín, in a variety of settings as regards art, performance, sound and installation, which embodies themes such as the syndrome of the cancellation of the future of the post modern identity and its techno-religious leanings, in a critical analysis of the background noise of our age, as an effect of the inertia of cognitive rituals that now lack any communal significance. Beltenebros considers the reinterpretation of the dysphoric body, familiar to our times, through practice with anatomical votive offerings - representations in wax, metal or wood of different organs and other parts of the body - and the installation on stage of a particular “hangman’s game” as a framework for the action and its pauses; not showing the game or the votive rites, but producing alternative meanings through them. Each offering makes, with the sound, an approach to the body, a kinetic situation. This is a dance of the macabre in collaboration with the pianist Haruna Takebe and the camerawoman-performer Masako Hattori.

 Multidisciplinary festival

L'animal a l'esquena (Celrà)
From 06/07/2024 to 20/07/2024
Presentation :
On 20/07/2024 at 18:00 in L'animal a l'esquena (Celrà)

La Verema
( La Verema )

L'ARREPLEGADA is a cultural and social inter-disciplinary festival. The first was held in 2022. It is organised by the group La Verema, in close collaboration with L’animal a l’esquena, where the event takes place. The festival covers a wide range of artistic disciplines, from performance arts, graphic plastic arts, visual arts and literary arts to music.

The aim is to provide a kaleidoscopic and plural space in which to share, get to know and encourage the work of young and emerging artists. The gathering hopes to be a catalyst, offering a creative interchange between the participants, who come from a variety of branches of creation, thus encouraging the formation of a decentralised and active artistic network.

 Creation Residence
De voz, un cuerpo/Voice, Body

L'animal a l'esquena (Celrà)
From 20/07/2024 to 27/07/2024
Presentation :
On 27/07/2024 at 19:00 in L'animal a l'esquena (Celrà)

Leonor Leal
( Leonor Leal )

De voz, un cuerpo is a performance project with four musicians and a dancer. Together they will compose a sound track based on research begun by Leonor Leal at the end of 2022. This sound track will be the fruit of a free interpretation of the testimonies of women (former flamenco dancers) who described to Leonor their inner images as they danced.

There are few texts written by flamenco dancers, rather than essays on dance or biographies. There are few bodies that have published their internal images, based on their personal observations that have helped them to dance better. Practice is full of tangible material for our bodies, words that resonate one day in our learning process and change our vision, lines of light, lines on the floor, in sound, on our skins, ideas, sensations, temporary parameters, silences, gestures, prayers, invocations of other bodies, melodies, remedies and even entire conversations in the solitude of our bodies on this art that has always seemed from the outside to be mute.

 Programa Tapete Común

L'animal a l'esquena (Celrà)
From 22/07/2024 to 03/08/2024

Colectivo Entre Corpdes
( Colectivo Entre Corpdes )

KANKARRO fuses aerial dance-theatre with something as down to earth as cookery, though suspended in the air.
This piece is inspired by the cyclical process of organic material and by awareness of local and ecological consumption, offering the public a delicious seasonal aperetif made live and adapted to local cuisine.

 Creation Residence

L'animal a l'esquena (Celrà)
From 26/07/2024 to 31/07/2024

Laia Santanach
( Laia Santanach )

JARANA is the third part of the trilogy of work by this company for whom traditional collective practices are the main concepts underlying their research into contemporary dance as a vehicle for communication in dialogue with live electronic music, in relation to the space they inhabit.


L'animal a l'esquena (Celrà)
From 29/07/2024 to 10/08/2024

Paula Ramis
( Paula Ramis )

Terra de Fuga is the title of Paula Ramis’ final piece of work for her degree. It is a short solo in which she explores what a landscape is for her, the identities of people, spaces and times and the relationship between them. Through movement of her body, voice, music and drawing she hopes to discover and travel through the infinite, constantly changing layers that form landscapes, from the most familiar to the imaginary.

 Writing Residence

L'animal a l'esquena (Celrà)
From 05/08/2024 to 17/08/2024

Xavier BobésAlberto Conejero
( Xavier BobésAlberto Conejero )

The starting point for our second meeting as creators is the poem “Childhood and Death” by Federico García Lorca. It is one of the so-called “orphan poems” from the cycle Poet in New York because, though it was written at the same time and could have been included in the book, it was in the end discarded from the version which Lorca submitted to be published in 1936. It was decades before the poem was published, by the poet’s friend Rafael Martínez Nadal, in the 1970s. He told how Lorca gave him the manuscript with the following note: “So you can see how I am feeling.”

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