National spotlight on performing arts - 23rd may
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national spotlight
on performing arts
TEATROSDELCANAL
23rd may /
3rd june 2018PLATAFORMA presents: ¿Qué haré yo con esta espada?
Saturday, May 26 th, at 8:30 pm / Sunday, May 27th at 7:30 pm
Running time: 4 h 45 min / Venue: Sala Roja
Àlex Rigola / Heartbreak Hotel This work is based on two violent events in Paris: the crime committed by writer Issei Sagawa when
he cannibalised a Dutch student and the Bataclan theatre massacre. A rebellion against rationalism.
Who is me. Pasolini (Poeta de las cenizas) A war for beauty in search of the unreachable and the sacred. A confrontation between the prose of the State
Wednesday, May 23rd to Saturday, May 26 th at 6 pm and at 8 pm and the rapture of the Spirit. «Just as scientists investigate the origin of the universe, colliding protons,
Sunday, May 27th at 5 pm and at 7 pm it is necessary to return to the origin of the tragedy to discover strength, energy, nerves, even before the feeling
Tuesday, May 29th at 6 pm and at 8 pm appeared, that pure, nameless sensation. Only by destroying it, that is, by breaking the law, can man be created,
Running time: 1 h / Venue: Estudio 7 and this can be done through the ‘supermoral’ of poetry». Angélica Liddell
Pasolini’s body was found on the floating dock in Ostia on 2 November 1975. A long, unfinished poem was found
among his papers after his murder; it was autobiographical and meditative, conceptualized as the answer Génesis 6, 6-7
to an imagined interview. Who is me is pure raging Pasolini, the last will of a turbulent creator who hesitated Tuesday, May 29 th and Wednesday, May 30 th at 8:30 pm
between radical action and retreat. For Rigola, it is «his ethical and aesthetic thought made poem. Family, Running time: 1 h 40 min / Venue: Sala Roja
literature, cinema, love, politics…». The piece, created for just 30 audience members, invites us to enter a box
Taken from the poetic universe of the Old Testament and the mythical energy of Medea, this Genesis reaches
full of works of art where his words, so necessary today, are carefully safeguarded. «A Pasolini that unveils
an agreement with the wrath of God to return the world to darkness. A world exhausted from bearing the weight
life and opinions by looking into the eyes of its small audience. The miracle certainly works». Alfonso Crespo,
of its misery. A world that cannot be solved by either materialism or horizontal mechanisms but by the vertically
Diario de Sevilla
sacred. A world that can no longer continue to wait and wish to disappear. But what is most important is the
revelation that unites the descendent to the word, that is, the mystery of creation based on the analogy between
Pablo Remón / La_Abducción verb and fertilisation. Angélica Liddell
Los mariachis
Wednesday, May 23rd to Saturday, May 26 th at 7 pm Oligor/Microscopía
Sunday, May 27th at 6 pm La máquina de la soledad
Running time: 1 h 30 min / Venue: Sala Negra
Thursday, May 24th, Friday, May 25 th and Saturday, May 26 th at 9 pm / Sunday, May 27 at 8 pm
An abandoned village in the middle of the Castilian plateau, in that no-man’s land known as “empty Spain”. Running time: 1 h 30 min / Venue: Estudio 1
It is here, in this mythical place, that several men meet: some who fled the financial crisis, others who provoked it.
Documentary theatre performed with miniature objects for only 46 people. A tribute to postal correspondence
Among them, a corrupt, exiled politician, who is soon to face judgement, has a moment of illumination: Pascual
and letters as objects that convey a forgotten memory, unusual testimonies and moving life stories. To create
Bailón, the patron saint of his village, appears to him and asks him to take him out on procession. In financial
this piece, the artists sifted through jumble sales in Spain and Mexico in search of missives that have
jargon, a mariachi is each of the phoney investment schemes you need to set up to avoid paying your taxes.
crossed time and space to tell anonymous stories. The title of the piece (The Machine of Solitude in English)
But “the mariachis” is also the name of the politician’s childhood gang of friends. The mariachis is a pilgrimage
refers to that moment in which we isolate ourselves to write to someone who will read us at another time
and a return to where it all began, a black comedy about four lost men.
and in another place.
Angélica Liddell / Atra Bilis El Conde de Torrefiel
Trilogía del infinito
La posibilidad que desaparece frente al paisaje
Esta breve tragedia de la carne Saturday, May 26 th at 8 pm
th th
Wednesday, May 23 and Thursday, May 24 at 8pm Running time: 1 h 10 min / Venue: Sala Verde
Running time: 1 h / Venue: Sala Verde Designed as an open book, the piece describes and conveys the imperceptible world of atmospheres, thoughts
Piece inspired by the poet Emily Dickinson: According to William Carlos William, Emily Dickinson «is as close and memories. A narrative journey through ten European cities is projected on an empty stage, introducing
as we have ever been... to hunger». Emily is neither man nor woman but a land of Indians, of kidnappings, murder the audience to the darkest, most disturbing and violent corners of people’s minds. There are famous characters,
and cannibalism, where each person is a loaded gun, where the god of anger feeds the wrath of god’s children. cultural fetishes like Michel Houellebecq, Paul B. Preciado, Spencer Tunick and Zygmunt Bauman, as well
Emily defies the rational world with her intelligence and her confinement, with the enigma, breaking the law as anonymous individuals who share the same present moment. The work blurs the behavioural map and shifts
of communication, indifferent to the worldly order of events. The more isolated, more contact with the infinite. human practices to an almost embryonic state. A map that conceals the wild territory of thought, threatened
She was not loved because no one accepts being loved by a gun. «My Life has stood — a Loaded Gun». by perversion, fear and the weakness of moral laws.
Angélica LiddellRodrigo García La tristura
Evel Knievel contra Macbeth na terra do finado Humberto Future Lovers
Tuesday, May 29 th to Saturday, June 2nd at 8 pm Friday, June 1st at 7 pm / Running time: 1 h 30 min / Venue: Sala Negra
Running time: 1 h 20 min / Venue: Sala Verde Is it true that new technologies have modified the emotional codes between young people? Have they somehow changed
The epic takes place between two acarajés stands in Salvador de Bahía, one owned by Dinha and the other by Cira. the way to relate, to love, to hate, to desire? Ultimately, as digital natives, today’s adolescents are both a consequence of the
Orson Welles, disguised as Macbeth, has taken control of the region and reinstated slavery. Ultraman, a 40-meter- time they live in and will be responsible for the future they imagine. Following the wake of CINE, their previous production,
tall superhero, and Naronga -enemies since the sixties and now fighting together for the first time- join popular La tristura attempts to push the theatrical envelope and challenge the boundaries between fiction and documentary, between
motorcyclist Evel Knievel and the Titans from the Argentine TV programme Titans en el ring (Titans in the ring) to free presentation and representation. The audience then decides the position from which to interpret what happens on the stage.
the Bahian people from the tyranny of Macbeth/Welles. Brawls, jabs, stabs, flying kicks, and blank verse in Iambic
pentameter is the desolating picture that the philosophers Lysias and Demosthenes find when they arrive to Salvador
after traveling to Athens on an end-of-the-year trip in BlaBlaCar. What’s going to happen with all this? Rodrigo García Jesús Rubio Gamo
is clear: «I don’t know. These are things that the play will clear up, and if not, get a refund for your ticket, prat!». GRAN BOLERO
Saturday, June 2nd at 11 am / Running time: 20 min / Venue: Estudio 2
cabosanroque For Jesús Rubio, dance offers the possibility to communicate... To communicate in such a way that secret places are
revealed. But dance is also to free oneself, because you escape from the prison enforced on you by your body and all
No me hizo Brossa its limitations. In other words, “you experience your body in a different way; you take it to the extreme, you transform it,
Wednesday, May 30 to Sunday, June 3rd from 5 pm to 8.30 pm (5 sessions, every 45 min)
th
you break it and then you put it back together again. In this way, the body generates a formal architecture, that anchors
Running time: 45 min / Venue: Estudio 1 you in the present and shows you what you really are”. GRAN BOLERO is a piece about determination, about the limits that
No me hizo Brossa is an installation by cabosanroque, which explores the least-known and earliest prose, exist between the serious and the lighthearted, about the transition from pleasure to exhaustion. You might also say that
written in the 1940s, of the poet Joan Brossa. In the central rectangle, an accumulation of moving objects it’s a dance about the passing of time, about relationships that last “a whole lifetime” and the images I remember of my
is converted into the mythical, magical landscape of “El jardí de Batafra”, in the less divine landscape of parents when they were young. Of course, it also has some similarities to the melody of Ravel’s Bolero, to love, to traditional
El Segre’s forehead in “30 divisió”, in “Missal de Caragat”’s landscape beneath the heavens or in the gloomy folk songs and other boleros: something which almost always ends up getting broken from so much use. GRAN BOLERO
forests from the opening of the opera Parsifal, by his much admired Wagner. Leopoldo Fregoli’s transmutation was selected for the 2016 edition of the Festivals Network A Cielo Abierto, as well as being selected as the Spanish piece
applied to objects and landscape. In the perimeter, the bodiless voice, the absence of object; words as sound to participate in Aerowaves 2017, Dance across Europe.
material. The phonetic insistence of poetic alliteration takes the importance away from the meaning of the word
and places it on the sequence of sounds. Texts read by people with exaggerated diction are distorted, until
their meaning is no longer recognisable, but which, at the same time, explode in a medley of different sounds. Poliana Lima
Hearing and seeing become the stage rather than the performance. Las cosas se mueven pero no dicen nada
Saturday, June 2nd at 12 noon / Running time: 15 min / Venue: Estudio 2
Juan Domínguez A choreography about the possibilities of movement and continuity. An abstract piece born from the idea that
everything in life is in constant movement and that everything that lives also moves. Simply through the existence
My Only Memory and movement of things, value and beauty is attributed to them. In this sense, the piece invites the audience
Wednesday, May 30 th and Thursday, May 31st at 7 pm to simply contemplate this movement and composition, without the pressure of having to understand it logically.
Running time: 1 h 15 min / Venue: Sala Negra
The impossibility of being permanently conscious of the way things are transformed in the present, leads our perception
of these transformations to become fragmented. These transformations can only be perceived as part of the past. Twins Experiment
As if we were aware of being in the here and now, but without knowing how we got here. Past vs. present. As if there were Conversación: Habitación o Morada
some transitions that culminate in change. Incomprehensible transitions that cannot be conceived or felt in the present.
Saturday, June 2nd at 1 pm / Running time: 20 min / Venue: Estudio 5
Fleeting moments of varying duration, that only become relevant when you look back into the past. My Only Memory
is just that; looking back and knowing that nothing will ever be the same again. “What would happen if, instead of wondering who we want to be, we asked ourselves what type of life we’d like to live with
others?” Judith Butler. We want to put the spotlight on conversation, meetings and the playground. We understand these
concepts as physical practices that bring our bodies into contact. As the setting for our meeting, we have chosen the concept
of the playground. A space in which two bodies converse. A place where skills of dialogue are developed; whether it be
knowing how to listen, how to deal with disagreements or how to reach compromises. Either of two persons or things closely
assembling each other. Being one of a pair, identical: twin towers. Made of two similar parts connected. Ainhoa and Laura.
From Madrid. Twins. They were separated at birth and reunited in 2014. Together, they are Twins Experiment. Together they
make playlists, lists, drawings, collages. Together they create pieces, they dance, sleep, invent games and sometimes, share
an apartment. Twins are two and they work as a collective. They work from a place of emotions, telepathy and horizontal
alignment. Being Twins allows them to take risks they wouldn’t dare to if they were alone. Together, they become superheroes.Daniel Abreu Manuel Liñán
La desnudez Ensayo de BAILE DE AUTOR
Saturday, June 2nd at 6 pm Sunday, June 3rd at 12:30 pm
Running time: 1 h / Venue: Sala Negra Running time: 20 min / Venue: Estudio 2
Two people on stage, a man and a woman, yet this piece is not about gender: Nakedness focuses instead A director who dreams, a flamenco dancer who dances. One same person, resulting in a dance fantasy,
on the beauty of things. According to Dácil and Abreu, this work could be called Geografía (Geography) instead split into different choreographies, which are not related in any way, a show that is set in this artist’s mind
of La desnudez (Nakedness), because it aims to recompose and revisit what there is, be it a material body or and his creativity. A dream that only he imagines but one we can all see. Ensayo de BAILE DE AUTOR is a
an impulse. Geography of instants and objects that speak about that path that runs from love to death, fraught fantasy which creates bonds within the artist, as choreographer and flamenco dancer. Liñán introduces
with rapid changes, like when many eyes look at the same thing at once. Daniel Abreu (1976) is a National us to the space where the piece is created, bringing each element to life: light, sound, flamenco singing,
Dance Award winner recognised for his own personal language and for creating an innovative, risky universe. guitar, music, dance... Manuel Liñán is an artist of flamenco influence (flamenco dancer, choreographer
«We won’t stop moving because we are older; indeed, the forty-year-old body almost begs to move more, to create and director) bursting with purity within himself and the dance he transmits. Following years of research
with the last breaths of reproductive energy», says Daniel Abreu. towards new tendencies, this flamenco dancer and choreographer takes flamenco to an extraordinary
realm between brilliance and simpleness, positioning it in the vanguard of flamenco. On numerous
occasions he is invited to choreograph shows for companies such as the Spanish National Ballet, Rafaela
La Veronal Carrasco, Teresa Nieto and the New Spanish Ballet. In 2008 he set out on his solo career with shows
Pasionaria such as Tauro (2008), Sinergia (Synergy, 2012), Nómada (2014) and Reversible (2016). Liñán is awarded
Saturday, June 2nd at 8:30 pm / Sunday, June 3rd at 7:30 pm a National Dance Award in 2017.
Running time: 1 h / Venue: Sala Roja
Imagine that place that everyone talks about. The place where all this becomes something. That world created Amalia Fernández
by all our efforts over all this time. That place we call progress. Pasionaria could be the name of that place, of that El resistente y delicado hilo musical
planet. There live beings that are very similar to us, that have been perfectly designed to imitate us. What we Sunday, June 3rd at 6 pm
call life has been transformed into an artificial landscape and its inhabitants into technological contraptions Running time: 1 h / Venue: Sala Negra
that have lost all kind of passion. The present in which we live leads us to imagine a future where we have simply
stopped feeling. A future in which we no longer even aspire to be different or feel that we are living our own lives. This is a choreographic score with choral, theatrical, performative and poetic elements. Five performers maintain
We understand that pain and passion is what differentiates us from robots and statues. a continuous flow of action that drifts and transforms, just as it does in nature. This piece is a finite theatrical
event in both artisanal and atechnical terms, but it reaches towards eternity: it composes a thread of sound
that is being drawn, stretched and cut both inside and outside ourselves. A thread that will somehow help
Beaches us to find our way home safe and sound. Here, Amalia Fernández brings together all the roles she’d like to play
Party for herself: she is a singer, a scientist, a stylist, a mystic, a mathematician and, finally, a spectator.
Sunday, June 3rd at 12:30 noon, 1:30 pm, 4 pm and 5 pm
Running time: 40 min / Venue: Pasillo Terraza Olga Pericet
Party is an immersive piece of dance and sound art performed for an audience of just ten spectators. A utopian La espina que quiso ser flor o la flor que soñó con ser bailaora
simulation of a night of festivities, which will hack into the audience’s senses and blur the lines between reality Sunday, June 3rd at 7 pm
and performance. The piece transpires in a place between the artist and the spectator, an “in between” that Running time: 1 h 30 min / Venue: Sala Verde
involves memories we’d long forgotten and images we didn’t know we still had. A living organism, both public and A unique opportunity to see how the theatre uninhibitedly contaminates and communicates the art of flamenco.
private, is created through this process of continuous rebirth. The protagonist and only subject of the piece is the Feminine and masculine, light and dark, drama and irony, ugliness and beauty, the strength of the thorn
audience itself. Beaches is the artistic collaboration between Iara Solano (Basque Country, Spain) and Daniela and the delicacy of the flower. All this incarnated in Pericet’s dancing body and distributed in scenic compositions
Pérez (Tocantins, Brazil). Beaches explores different ways to break with the conventional formats of theatre that Ferrer has created for her. An intimate journey that is born from wounds and kisses and which
and dance, creating site-specific, immersive pieces, where the figure of the performer is decentralized and the –through dancing and singing, granaínas, bulerías, tanguillos and tangos– draws us from the unknown
movement is incarnated through the spectator’s own body. into the light. — CRITICS CHOICE AWARD AT THE FESTIVAL DE JEREZ 2017TUESDAY, MAY 29TH
6 pm Àlex Rigola Who is me… 1 h / Estudio 7
8 pm Rodrigo García Evel Knievel contra Macbeth... 1 h 20 min / Sala Verde
8 pm Àlex Rigola Who is me… 1 h / Estudio 7
8:30 pm Angélica Liddell Génesis 6, 6-7 1 h 40 min / Sala Roja
WEDNESDAY, MAY 30TH
5 – 8:30 pm cabosanroque No me hizo Brossa 45 min (5 sessions) / Estudio 1
7 pm Juan Domínguez My Only Memory 1 h 15 min / Sala Negra
WEDNESDAY, MAY 23 RD 8 pm Rodrigo García Evel Knievel contra Macbeth... 1 h 20 min / Sala Verde
6 pm Àlex Rigola Who is me… 1 h / Estudio 7 8:30 pm Angélica Liddell Génesis 6, 6-7 1 h 40 min / Sala Roja
7 pm Pablo Remón Los mariachis 1 h 30 min / Sala Negra
THURSDAY, MAY 31ST
8 pm Àlex Rigola Who is me… 1 h / Estudio 7
5 – 8:30 pm cabosanroque No me hizo Brossa 45 min (5 sessions) / Estudio 1
8 pm Angélica Liddell Esta breve tragedia de la carne 1 h 40 min / Sala Verde
7 pm Juan Domínguez My Only Memory 1 h 15 min / Sala Negra
THURSDAY, MAY 24 TH 8 pm Rodrigo García Evel Knievel contra Macbeth... 1 h 20 min / Sala Verde
6 pm Àlex Rigola Who is me… 1 h / Estudio 7
FRIDAY, JUNE 1ST
7 pm Pablo Remón Los mariachis 1 h 30 min/ Sala Negra
5 – 8:30 pm cabosanroque No me hizo Brossa 45 min (5 sessions) / Estudio 1
8 pm Àlex Rigola Who is me… 1 h / Estudio 7
7 pm La tristura Future Lovers 1 h 30 min / Sala Negra
8 pm Angélica Liddell Esta breve tragedia de la carne 1 h 40 min / Sala Verde
8 pm Rodrigo García Evel Knievel contra Macbeth... 1 h 20 min / Sala Verde
9 pm Oligor / Microscopía La máquina de la soledad 1 h 30 min / Estudio 1
SATURDAY, JUNE 2ND
FRIDAY, MAY 25TH
11 am Jesús Rubio Gamo GRAN BOLERO 20 min / Estudio 2
6 pm Àlex Rigola Who is me… 1 h / Estudio 7
12 noon Poliana Lima Las cosas se mueven pero no dicen nada 15 min / Estudio 2
7 pm Pablo Remón Los mariachis 1 h 30 min / Sala Negra
1 pm Twins Experiment Conversación: Habitación o Morada 20 min / Estudio 5
8 pm Àlex Rigola Who is me… 1 h / Estudio 7
5 – 8:30 pm cabosanroque No me hizo Brossa 45 min (5 sessions) / Estudio 1
9 pm Oligor / Microscopía La máquina de la soledad 1 h 30 min / Estudio 1
6 pm Daniel Abreu La desnudez 1 h / Sala Negra
SATURDAY, MAY 26TH 8 pm Rodrigo García Evel Knievel contra Macbeth... 1 h 20 min / Sala Verde
6 pm Àlex Rigola Who is me… 1h / Estudio 7 8:30 pm La Veronal Pasionaria 1 h / Sala Roja
7 pm Pablo Remón Los mariachis 1 h 30 min/ Sala Negra
SUNDAY, JUNE 3RD
8 pm Àlex Rigola Who is me… 1 h / Estudio 7
11 am Meeting with the artists and companies Sala de Prensa
8 pm Conde de Torrefiel La posibilidad que desaparece frente al paisaje 1 h 10 min / Sala Verde
12:30 noon Manuel Liñán Ensayo de BAILE DE AUTOR 20 min / Estudio 2
8:30 pm Angélica Liddell ¿Que haré yo con esta espada? 4 h 45 min / Sala Roja
12:30 noon Beaches Party (SPANISH) 40 min / Pasillo Terraza
9 pm Oligor / Microscopía La máquina de la soledad 1 h 30 min / Estudio 1
1:30 pm Beaches Party (ENGLISH) 40 min / Pasillo Terraza
SUNDAY, MAY 27 TH 4 pm Beaches Party (SPANISH) 40 min / Pasillo Terraza
11 am Meeting with the artists and companies Sala de Prensa 5 pm Beaches Party (ENGLISH) 40 min / Pasillo Terraza
5 pm Àlex Rigola Who is me… 1 h / Estudio 7 5 – 8:30 pm cabosanroque No me hizo Brossa 45 min (5 sessions) / Estudio 1
6 pm Pablo Remón Los mariachis 1 h 30 min / Sala Negra 6 pm Amalia Fernández El resistente y delicado hilo musical 1 h / Sala Negra
7 pm Àlex Rigola Who is me… 1 h / Estudio 7 7 pm Olga Pericet La espina que quiso ser flor… 1 h 30 min / Sala Verde
7:30 pm Angélica Liddell ¿Que haré yo con esta espada? 4 h 45 min / Sala Roja 7:30 pm La Veronal Pasionaria 1 h / Sala Roja
8 pm Oligor / Microscopía La máquina de la soledad 1 h 30 min / Estudio 1Notes Notes COMPANIES CONTACS Daniel Abreu Elena Santonja elena@esmanagement.es Beaches Iara Solano iara.sleepwalk@gmail.com cabosanroque Laia Torrents laia@cabosanroque.com El Conde de Torrefiel Tanya Beyeler info@elcondedetorrefiel.com Juan Domínguez Juan Domínguez ehjohnnydd@gmail.com Amalia Fernández Amalia Fernández amafernandezsanchez@yahoo.es Rodrigo García Sarah Reis-La Carnicería Teatro sarah@rodrigogarcia.es Angélica Liddell / Atra Bilis Sindo Puche sindop@hotmail.com Manuel Liñán Ana Carrasco-La Peineta Producciones anacarrasco@peinetaproducciones.com Oligor / Microscopía Jomi Oligor valentin@oligor.org Olga Pericet Ana Carrasco-La Peineta Producciones anacarrasco@peinetaproducciones.com Poliana Lima Poliana Lima poliana.polis@gmail.com Pablo Remón / La_Abducción Silvia Herreros info@laabducción.com Álex Rigola / Heartbreak Hotel Kai Puig kaipuig@hotmail.com Jesús Rubio Gamo Jesús Rubio Gamo elcielotieneplayas@hotmail.com La tristura Violeta Gil latristura@latristura.com Twins Experiment Laura Ramírez twinsexperiment@gmail.com La Veronal Juan Manuel Gil Galindo produccion@laveronal.com
national spotlight
on performing arts
23rd may /
3rd june 2018
PLATAFORMA is a space to support and promote the companies
and artists that are developing their work at Teatros del Canal
and Centro Danza Canal. An unmissable date for national
and international professionals, where the work and projects
of longstanding and emerging artists from the fields of theatre,
dance, new languages and the arts of movement will be
presented.
Among others, the participants include: Angélica Liddell,
La Veronal, Rodrigo García, Juan Domínguez, Olga Pericet,
La tristura, Daniel Abreu, Jesús Rubio Gamo, Oligor/Microscopía,
Amalia Fernández and Pablo Remón.
With the support of
Depósito Legal: M-10144-2018. Imprime BOCM
www.accioncultural.es
With the collaboration ofYou can also read
