Body, matter, time, space and relationships are the key concepts of this human installation: one hundred and twenty body structures in which the interpreters are both builders and materials. Ephemeral architectures that emerge from a precise mathematical protocol based on random and symmetrical operations, and which are the result of the traction and compression efforts of the participating bodies. A coral balance.
In Nereidas and Nereo (drowning) we become witnesses of a tragedy: some bodies try to resist, to survive in the middle of a world where they have no place. Devious, disorganized, they try to overcome the sad contemporary condition of being alienated, unarmed, of being like fish out of water. The public, faced with this dancing critique, will face this demand for empathy, solidarity and collective power.
In his debut at the street theater, the veteran company ZUM-ZUM Teatre has partnered with Quim Bigas, a multidisciplinary artist, creator of new formats and languages for dance; And from this alliance, Hippos has come out, a family spectacle that shoots against appearances and stereotypes imposed by society. Three hippos dance, laugh, interact with people and invite you to participate in their games. However, beyond the fun, there’s a message hidden, the respect for difference. Would you like to join them?
2018 Award Moritz FiraTàrrega for best street performance.
What idea of progress is actually being imposed on us? What artificial world are we being pushed to? These are two questions posed by the Pasionaria, a critical view of a future where individualism and moral cowardice will be rising values. The Veronal places us in a society where human beings will live with androids with human form but lacking in humanity and from such coexistence, neat and aseptic communities will emerge, without joy, pain or passion.
Halfway between lecture performance and dance, Núria Guiu elaborates a speech about the social value of a ‘like’ in nowadays digital societies. With a clever view, sense of humor and a trained body, Guiu sets out two widespread trends in social networks: the cover dance and the yoga videos. Through these practices, she moves from pop to sacred and, through movement, she creates an image of the body in the digital era.
Kanana is a Sotho word referred to a promised land that has never existed: what was bound to be a free and prosperous space is, in fact, a land full of greed and corruption. In Via Kanana, however, the dream of a better world overtakes that of the nightmare. The world has changed from what we imagined, we are all victims, overwhelmed by fear, says Gregory Maqoma, one of the creators of the show. The work hides the dark cloud and brings us light and hope, and it rebels against the fear of living. It's a cry to life.
Things seem to be existing just by themselves; then they are named. Before the words, we perceive the light, the sound, the matter, the body. But these experiences only get registered in our memory and a meaning when we assign them a name in the volatile world of our own perception. This is the starting point for Nom, a performance created by the collaboration between the choreographer Cesc Gelabert, the composer Borja Ramos, the Lighting designer Conchita Pons and the costume designer, Lydia Azzopardi.
