Trànsits

ROOM 100 has been established by Antonia Kuzmanić and Jakov Labrović in 2010. Their first performance “C8H11NO2” earned them a title of “Jeunes Talents Cirque Europe 2009-2010” laureate and critics of being an “exceptional example of an intelligent, accurate, deliberate and intensive work”. SInce then, they performed in USA, France, Belgium, Netherlands, Denmark, Finland, Spain, Switzerland, Italy, Lithuania and Croatia and produced “split”, “Seed” and “BLINK” performances.

Beside performing and producing contemporary circus performances, ROOM 100 is undergoing different projects of strengthening contemporary circus scene in Croatia and introducing contemporary circus arts, its history and importance to wider audience. Main activity is running HALA 100 – residency place for contemporary circus arts (first of its kind in Croatia and ex Yugoslavia) – and hosting international circus artists for creation, performances and workshops.

C8H11NO2 (2.0)

C8H11NO2 (2.0) is a new derivation of ROOM 100‘s original work that premiered back in 2011 in Academie Fratellini after being awarded as laureate of Jeunes Talents Cirque Europe program (now circusnext). Within “The Sphere” project, a research-creation project developing new ecologies of funding for the performing arts, ROOM 100 has been given an opportunity to bring back to life a performance that was last time presented in 2015. C8H11NO2 (2.0) is going to be another engaged performance aiming to deepen our understanding of neurodiversity and to raise the awareness and sensibility of the public about its different dimensions and complexities. We have envisioned a starkly physical creation – a mixture of contortion, dislocation, acrobatics, butoh and break dance – with a strong visual component, that will, hopefully, once again, cross the boundaries of performing arts…

Aurora Caja (Palma de Mallorca) studies plastic arts at the Escola Massana in Barcelona and beaux-arts at the University of Barcelona. She continues her training at the FLIC Scuola di Circo in Turin, Italy. There she specializes in the discipline of verticals. Her first project is called En Perill d’Extinció (2016).

She also takes part in creative labs with professionals like Tomic, Jean Michael Guy and Volmir Cordeiro, Roberto Magro, Marta Torrents, Eva Ordoñez, Cristian Coumin and Pau Portabella.

In 2018 she starts the development of her first show, No verbal. In October 2021 she takes part in the FOCON training at the ÉSACTO Lido (École Supérieure des Arts du Cirque Toulouse-Occitanie, FR). In 2022 she presents No verbal in the form of a tour at the Picasso Museum in Barcelona, as part of the Creació i Museus device and within the Grec Festival schedule, in Barcelona. The show is produced by La Central del Circ and the Picasso Museum.

At the same time, she continues to work as a visual artist, in collaboration with Cia. Eia, Joan Català, and also independently. In 2022 she creates the exhibition Out of the Box.

No verbal

“No verbal” transcends into an intimate dimension; into a placenta, into a mental space. It’s a discovery trip which reveals itself the same way light penetrates darkness.

It’s a physical story that talks about being human from her most carnally honest perspective. A struggle to find her own voice in a world overwhelmed by noise. A rebellion.

In a plastic universe, the body defines the narrative. Its language is made of balance, acrobatic motion, contortion and drawing.

Photographer: Gaby Merz

It was at the Crescer e Viver circus school, in 2011, where Cássia and Rodrigo met for the first time. During training, Cássia continued her drama studies and Rodrigo began a technical course on contemporary dance. Together with 10 other students, they form Cia Circo no Ato, with which they produce 4 performances in 5 years, they specialize in acrobatic poses, travel all over Brazil and become a reference in the Rio de Janeiro circus. In 2017 they take their most recent performance, A Salto Alto directed by Roberto Magro, on a European tour, passing through Spain, Italy, Portugal and Belgium. During this time, they decide to expand their stage research as a duo and they begin a new training at the Lido Circus School, in Toulouse.

Once they completed this training, they commenced a small, 15 minutes, project called Despir, joining UBA, the new creation from Bordeaux’s Smart Cie, which premiered on July 9^th 2022. At the end of 2021 they begin imagining their first long performance: Rupestre.

‘Rupestre’

‘Rupestre’ is a poetical and corporeal license to merge past, present and future created as a surreal escape to the prehistoric origin of humanity. The intention is to reconstruct, expand and synthesize symbols, images, tools and movements capable of provoking a reflection contained in gender equality and the preservation of nature.

Music plays a main role in this show. The instruments will be played on stage with the help of a loop pedal. The plot develops from percussion, the first sound impulse of primitive man: through the clash between objects, the noises are transformed into sound, then into rhythm, melody, dance and a circus show.

‘Rupestre’ immerses itself in a trance as a language of memory, with the body conceived as the guardian of ancestry and our greatest tool to access the past and co-create a more equal and diverse future.

Firma foto: Benoit Martrenchar

Soa Payet, stage author, works with memory, the one that will be and the one that will become following our present actions. It’s about rediscovering the stories that arise from the circus imaginary, in a more extensive sense, where dance, text and circus object mix.

He grew up between the Paris region, the island of Reunión, Columbia and finally Ecuador. He trained as a circus artist at the Amiens, Montpellier, Brussels and Toulouse circus schools.
He was a dance, clown, Butoh and theater apprentice. All these fields led him to focus his work on his own roots, to understand that which traverses generations and demands listening to.

Zoé Debary, in theater, carried out an academic research on circus gestures and words. From her trapeze-dance, she came down to the stage floor to take a step into the choreography of bodies through GAGA (GAGA MOUVEMENT) dance and the actor’s opening thanks to the Chekov training, in Brussels. Following her experience, she accompanies circus artists in their creations, «Circus remix» from Tercer Circ (2017-2018), «No puc morir» from Cie La Gesti (2019-2020), «PAPY» from Lucha Emilia (2020-2022).

Her research resonates in her works and her works resonate in her research. How do we embody (drama)circuses?

La memòria de la Pepa

Our project came to life between the mountains of Medellín and the heights of Reunión. We’re looking to formulate our internal screams. Screams of uprooting, screams hidden in crammed throats, silent screams that are heard from the bottom of the earth, screams of our ancestors and descendants.

“La memòria de la Pepa” is a circus story, the story of Pipo, a globetrotter. Remember, remember, make it materialize, bring it to light, the terrific spirit of the colonial plunderer and the depth of the jungle. Juggling with his “toquilla” straw hats, his candles, his dangling fabrics, he structures the space and his time. Pipo transforms and creates his own rituals, he dances his loss, with love.

We don’t choose to represent any culture in particular. We choose to invent a story inspired by the memory of our elders and its role in today’s questions which demands new formulations. We gather in the history of our memories to find fragments of what has been lost and what has to be reinvented.

Born May 2^nd 1998 in Badajoz, Extremadura region of Spain, where there are many oak trees. He was less than two years old when he was dancing to Sonia y Selena in the living room of his house, imitating each choreography from his sister’s graduation VHS tape. When he was eight years old, he wrote a poem to Virgin Mary and the rest is history.

He did his professional training at Carampa, between 20016 and 2018, and during the next course he became a part of various Freestanding Courses at DOCH, School of Dance and Circus (Stockholm), of different specialties of his discipline, hand balance acts and a course on the artistic development within circus disciplines.

In June 2019 he takes the tests and is admitted at the Brussels Higher School for Circus Arts, and three years later he graduates, and has longer hair, and he likes rain less, and he likes coffee more, and writing more, and the circus more, I suppose. He also receives his Master’s degree in Poetry from the Madrid Writer’s School and is part of the Simul Solus Collective. El patio is his first solo project as a creator/artist.

El patio

‘El patio’ is an interdisciplinary research project that plays the part of experimenting with intimacy, desire and the power of language through the stage fusion of poetry and circus, using acro-dance, hand balance acts, live writing, sound works and voice as means and channels to express.

There’s a factual meeting point between the two disciplines, from which the skeleton of the project is born: the way in which they use pure technique as a creativity channel and form as the final object. Building a space within a space, “El patio” plays with the limits between the truly intimate and the completely public, as when you try to disclose or share something intimate, its very intimate quality vanishes and it acquires a new dimension for a few seconds.

“Intimacy is a fish flopping between two oily hands and I’m losing oil, a lot of oil”.

Born in Reus, he trained at the Rogelio Rivel circus school in Barcelona (2010-2012), the Pekin International Art School and ÉSACTO Lido in Toulouse (2014-2016)

He specialized in hand balance acts, torsion, dance and theater. Co-creator of the Random company. CircusNext 2019 prize winner.

He performed in different European locations, at the Circ d’Hivern de l’Ateneu Popular 9Barris and Mercat dels Flors (Barcelona), the Theatre de la Cité International (Paris), CircoBalkana (Croatia), La Grainerie (Toulouse), Halles de Scharbeck (Brussels), Mesopotàmia Circus (a festival in Türkiye). He danced with artists from Krump, Butoh, African dance, raves and elite level Bachata.

‘Candy’

“I encountered certain difficulties when going back to regain possession of myself. It’s a strange experience. Perceiving the legs as separate objects, estranged from the mind, to which they’re connected almost by chance. Imagine yourself with skepticism, as a pile of flailing members… and one needs these members, needs them desperately, but even so, sometimes, they seem very strange, very strange. The legs, above all.”

Felipe Nardiello

His artistic path begins with the separation from the world of psychology (the profession he was dedicated to) and opening up to the circus. He studied at the FLIC circus school in Italy, where he specialized in Cyr wheel.

Ginés Belchí Gabarrón

He begins his professional studies at the Rogelio Rivel circus school in Barcelona, following which, he studies at the ÉSACTO Lido, in Toulouse, where he specializes in acro-dance.

At the end of his studies, he creates and acts in the El costat fosc de les flors performance, takes part in the Circ d’Hivern SOPA de l’Ateneu Popular de Nou Barris and in the latest creation of the Primavez (France) collective –Intudewail.

Que me tiren al mar

‘Que me tiren al mar’ infiltrates an intimate, relational dimension, in an emotional space. It’s a voyage trying to connect with the general theme of problems, through physical emotion.

Quin és el teu problema?

It’s a physical story talking about being human from a problematic capacity, a fragility capacity, a capacity to question how the modern subject relates to its own life.

Quina és la teva solució?

In an abstract philosophical universe, the bodies and the Cyr wheel articulate the discourse. Their words are built for the acrobatic movement of two bodies, the emotional relation between these two and a Cyr wheel, which urges cyclical and circular situations, which can become either problems or solutions.

Abby Neuberger and Luca Bernini met at the FLIC circus school in Turin in 2012, where American gymnast and Italian jonglor began working together hand-in-hand and physical theatre, to create a body vocabulary typical of their duo. Together they entered Fratellini Academy in 2014 where they continued to perfect their aerobatic technique and developed their research around a playful and absurd imaginary (Willy Axton 2016; Morning 2017). Since its premiere in 2017, they create their first show, Compost.

Abby and Luca believe that the performance is an act of living in the present, in the space they are in, as well as a discovery of surprising things, the unexpected, with the audience. With the Keep Company, which they create in 2019, they want to question our collective relationship on earth and defend the performing arts as legitimate means of opening discussions about the environment. And through the show, they continue to look for what human beings can mean, through humour and laughter.

‘Underfoot’

With ‘Underfoot’, we’ll deal with the subject of nature through the angle of decomposition, of what happens after death, of the transformation of matter into another way of life, or into another living being. The team will be interested in the decomponent actors (or transformers): worms, protocharion, bacteria; for chemical reactions that are the basis of substance transformations; for reactions between atoms that create new substances without loss or addition of components. And through their language, mixing physical theater and hand-to-hand techniques, they will try to represent these reactions and relationships.

In a longer range, echoing its first creation ‘Compost’, Abby Neuberger and Luca Bernini attempt to follow the history of life cycles: evolutions and changes of geological times, and the trails left by changes of species after thousands of years of life on Earth.