Trànsits

Clara Prieto Boix starts her professional training at the Rogelio Rivel Circus School in Barcelona, and next to Codarts, University of Arts of Roterdam (Holland), where she specializes in rope. She also discovered the pole.

She has performed at various festivals in Catalonia, Belgium, Lithuania, Mexico… And she has participated in projects such as the Combinat de Circ from the Ateneu Popular 9 Barris, C%RC at the Antic Teatre in Barcelona, Balade de Cirque from Companie BAM, Nilak Circ Teatre Itinerant, among others. She’s interested in the social part of the circus and she has taken her to participate as a volunteer in projects in the southeast of Turkey and Tunis.

Her idea is to create a fluid and natural language, quality she is looking for through dance and movement. Her last discovering has been the tap, which together with dance, theater, humor and absurdity, are resources to achieve a more complete and diverse language.

‘Bennescuda’

Dice que en el manicomio, un día, el director coge a tres locos para ver si les puede dar de alta. / Dice: veniu aquí. / Se acercan los tres. / I li diu amb un, li diu: ¡a ver tú! 6×6? Y dice el tío: ¡Febrero! / Diu: vale nen, de puta mare. / Diu: tú, al segon, tú: 6×6? Diu: 1000! / Diu: molt bé! Deu ni do també. / Li diu al tercero: a ver tú!, ¿6×6? Y el tío: ¡36! / Diu, coi, diu: y ¿cómo has llegado a esta conclusión? / I diu: ¡fácil! He dividido febrero por mil.

Marc Bosch Mola (Vic, 1992) studies biology and neuroscience, while forming in circus. Later, with the aim of professionalizing as an artist, he studied at the Rogelio Rivel school in Barcelona. He performs in various pieces, such as ‘Gender’, under the direction of Tere Celis, and in the 58th Combinat de Circ of the Ateneu Popular de Nou Barris, under the direction of the Cia. Zero en Conducta. He also participates in various circus galas with his fixed trapezium show at the Mercateatre 2022, at the Cronopis Circ de Nadal 2023 and at the Gala Mara Mara in 2024.

In the attempt to continue expanding, he began to work with Andreas Avgousti (Nicosia, 1992), a gender researcher and queer philosophy. With this cross-contamination, between the physical practice of the circus and the queer philosophical discourse, the project ‘Escorça’ is born.

Escorça

Wrapped in a warrior’s armor, like a hard and heavy shell, I conceal an unknown part of myself.
Can’t you sense it when you embrace me? My hooked fingers tear at the protective remnants of wood, like an hourglass, revealing fragments of what’s beneath.
Slow and steady.
To uncover each piece and see others for who they truly are; will you really see me? Today, I could strip bare like a winter tree.
I wonder, is there more to me beyond this shell, or is bark all I am?
I wonder, do I have anything in common with you, or am I a monstrous creature?
Escorça materializes into a circus piece for two people, an interpreter and a technician; a puppet and a puppeteer. An attempt to (de)construct a circus piece following a learned vital recipe, where the discourse on human essence becomes the guiding thread. A tragicomic experience that speaks through layers, inviting the audience to self-reflection.

“Escorça” is an attempt to (de)construct a circus piece following a learned life recipe, where the discourse on human essence becomes the guiding thread. A tragicomic experience, speaking through our layers, inviting the audience to self-reflection.

Photo: Aina Barril

Borja Nou graduated in Social Education and is a Sociocultural Animation Technician. He also trained at the school of social theatre and performance La Roda in Madrid. As a circus artist, he trained at the Escuela Internacional de Circo y Teatro CAU in Granada, where he specializes in hand-to-hand discipline, as a base and flyer. Currently, he is in the process of creating two projects: ‘Requiem’, with the QIIMERA collective, and ‘Nébula Dermis, a solo show.

‘Nébula Dermis’

Nébula Dermis is a multidisciplinary piece of solo circus-mediation in which circus language, physical theatre and the will of the public are put into dialogue. It is a condemnation of the declaration of vulnerabilities, crossed by dissident identity. A popular sentence is proposed in which the apparent centre of condemnation is the artist, who, without being aware of it, also puts the public to trial with the blames attributed to them. A journey through the fragilities of the scenic body and the collective self-reference that is born from the need to share in a vulnerable way and to recognize oneself in it.

Photo: Fede Nieto

In 2022 Maria Paz brought together four circus artists – Jesu, Africa, Júlia and Maya – from France, Catalonia and Chile to create the company La côte folle. The collective is created, on the one hand, with the desire to create an acrobàtics and dance creation and, on the other hand, by the desire to share collective ethics and the question of how we make circus.

Entre bous i vaques

Five acrobatic bodies that are carried and accompanied, use a structure that is transformed to explain ‘Entre bous i vaques’. The collective La côte folle proposes – through the acrobatics and dance – a scenic narrative about memory, forgetfulness, old age, dementia and the passage of time, inspired by real anecdotes and testimonies.
A street proposal and for everyone. A journey between the memories of a ruined brain, between sensitivity and humour.

Photo: Andreu Casadellà Oller

He has had circus, dance, currently two theatre companies; bands, orchestras, dúos and solos. He has been a musician since he has memory, accompanying the creation processes of Losin’Form’Alls, Circ Vermut, Alba Ramió and Ildor Llach, and a string of French companies such as INO Kollektiv. He has worked as a sound technician, light technician, distributed magazines and stacked powdered detergent packages on a pallet in a warehouse. He has also worked as a music teacher.

4A

Ideally it would be a lot of things, objects and techniques and records and shadows; but since it’s a simple inquiry now, I’ll stick to music and circus, mechanics and trajectory.

Dora Komenda is an architect and self-taught circus artist from Split, Croatia. In 2015 she achieved a master’s degree of architecture and simultaneously discovered circus, developing in both disciplines ever since. Her portfolio of performances, shows and multimedia exhibitions is rich in collaborations with architects, musicians, visual artists and animators. Since 2018 she has worked as an artistic director in Cirkus Kolektiv, and in 2021 she founded the architectural office Kolektiv tri along with two partners.

Konstrukt

Konstrukt speaks about failure and dealing with wrong choices. Aerial equipment in the show is altered so it becomes fragile, unsafe and unsuitable for use. The characters are mad men, fools who keep trying to perform on it, and invest a lot of effort into a battle that is already lost. They ultimately face a question – how to deal with failure? Acceptance, giving up, stubbornly defying to the point of exhaustion, or a deus ex machina that rescues us all from this curse by a supernatural force, because no solution grounded in reality is possible.

Photo: Jakub Dusek

Cia. La Bel•Bel is formed by Marta Punsola, La Tona, (Cia Zero, Spazio Bizzarro, Cronopis Espai de Circ), and Jordi Puigoriol, el Putxi, (Cie Cirquons Flex, Cie Les Pieds Sur Terre, Cie XY). After their respective training and some professional experiences, in 2023 they exchange artistic ideas and embark together in the creation of a piece that is currently provisionally called ‘Guillem’.

‘Guillem’

Contemporary circus piece narrated in first person. It combines acrobatic balances, movement, text and audiovisuals.

All wounds leave a mark. Sometimes this mark is perceptible and trauma can be recognized as a scar. However, there are experiences that, despite not leaving a physical mark, are housed in the deepest of the soul, hidden in some corner.

The tingling, diplopia and loss of sensitivity corresponds to each of the phases of Guillain-Barré syndrome, which attacks the nervous system. This loss of sensitivity is reflected in parallel with the loss of social sensitivity in all areas.

Even so, light always sneaks through some crack, and therefore, awareness of the wound leads to acceptance and the will to rebuild.

Foto: Oriol Segon