Trànsits

The company was born from the union of four multidisciplinary circus artists based in Euskal Herria (Oihane Larraza, Gaspar Illoro, Zoe Aldekoa, and César López). Their aim is to explore the poetics of the rural world to reach a shared sensitivity through the language of circus. Their main disciplines include aerials, juggling, Chinese pole, Cyr wheel, acrobatics, and dance. They met while attending the technical training program at INAC (National Institute of Circus Arts) in 2018, in Portugal. After separating and continuing their professional training independently, the artists decided to reunite and create the show Herrari. Driven by shared interests in contemporary language, they work by taking artistic risks rooted in emotions and sensations to engage the audience.

‘Herrari’

Herrari is an itinerant contemporary circus show that invites us to reflect on natural and rural spaces, which have changed significantly due to human presence and, paradoxically, its absence. It delves into the nostalgia for rural life, sparked by the longing for calm and a sense of community in today’s world. Life in cities is becoming increasingly unsustainable due to factors like gentrification, which disrupts collectivity, stripping places of their identity and further severing our connection with nature. The show seeks to build a bridge between rural and urban spaces, fostering a symbiosis between the two. It aims to propose alternative ways of living that are sensitive to the environment, encouraging us to be an active part of the world around us.

Elisa Oliva discovered her love for circus arts while attending film school in London (2016-2018). After completing her studies in the seventh art, she decided to pursue a professional course as a circus artist at Flic Contemporary Circus School (2019-2020), specializing in aerial rope. During that year, she began exploring creative possibilities by incorporating a skateboard into aerial rope performances. After working as a teacher and performer for the Circo all’Incirca company (2021), she decided to move to Barcelona in 2022 to continue teaching and developing her project, TreNotturno, in the European capital of skateboarding.

Gabbie is a dance and circus artist who works as a performer, teacher, stage director, and movement director. She specializes in contemporary dance, acrobatics, and Chinese pole, with over 10 years of stage experience. Throughout her career, she has collaborated with several dance, circus, and physical theater companies, covering a wide variety of performance genres. She has toured both nationally and internationally, performing for theater audiences, street theater festivals, and under the circus tent at various festivals.

Her workshops on acrodance and Chinese pole have been sought after by various higher education institutions and professional companies, such as the Institut del Teatre (Barcelona), CREAT (Valencia), Movement Andalusi (Granada), UNSAM (Buenos Aires), Accademia Dimitri (Switzerland), 2Faced Dance, and NoFit State Circus (United Kingdom).

Girl with a Curl

Girl with a Curl is a fantasy about power and liberation. It delivers a public service announcement on how women have historically been taught to ignore and internalize their anger, conveniently sustaining the patriarchy and ensuring that violence remains on the side of the oppressor. This multidisciplinary and immersive solo piece combines Chinese pole, contemporary dance, acrobatics, physical theater, and text/comedy. The work is comedic, absurd, and carries a strong political charge.

Hristina Šormaz began practicing circus and focusing on aerial rope while studying scenography in Belgrade. She trained as an artist through non-formal education, artistic collaborations, and masterclasses in circus and contemporary dance. She is a member of the Cirkusfera association, dedicated to the development of the contemporary circus scene in Serbia and the region.

Discovering different physical practices became for her a way to question human relationships with their environment and society, which led her to engage in artistic, pedagogical, and social work driven by circus. Since 2018, she has been pursuing doctoral studies in scenography, where she investigates the use of space and matter from a circus perspective.

Currently, she is based in France, where she continues to work in the circus field, as well as in Serbia and Croatia.

‘Traces’

Falso positivo

This creative process begins from the concept of fake truth that governments use to camouflage realities, which works different artistic processes that have been censored or condemned in Spain in recent years.

Hfjmsldfjk

The story of a person projected in an unknown place. She is alone. Little by little, she will discover and find her place. Dressed in an XL jumpsuit and a hat, is she really a woman?

Crossing Lines

Balancing on ropes or wires has always had a very symbolic power but accessible to everyone. These artists use their skills as a method of connecting with the world.

Craier

A visualization of the stages of life, without a story, without a reason. A work created to attract the attention of the spectator, always waiting for what is to come, surrounded by the sound of footsteps.

Humaniquin

A journey through a science-fiction fantasy-world. A visual universe of physical prowess and fantascience, with plastic images resulting from the body-object symbiosis: latex hands, three legs for walking and masked and undaunted characters.

Humaniquin is a medium-lenght show inspired by science fiction, which seeks to recreate the vertigo of the best fantascience stories by means of the fusion of physical theater, circus, dance and live music techniques.

After studying at the FLIC circus school in Turin, Italy, Andrea Speranza continued his juggling studies at the circus school in Lyon. After, he became interested in studying magic in all its forms and developed his potential as an illusionist.

He takes part, as an artist, in creations like Censura, directed by J.M. Guy, Roberto Magro and Johnny Torres in 2019, or Impromptu, from the Catalan company Circ Teatre Modern, in 2014.

Worked as creative support and illusion effects adviser with La Frontera company and for Alice Rende’s Passages performance. He also works for various businesses as a special effects consultant. In 2021 and 2022 he was part of the Support Group for the Horizons de Cirque cross-border project, and also participated in the third module of the European project Digital Lead held in Terrassa, Catalonia, and in the Antípodes cross-border project, a La Grainerie de Toulouse (France) and Pistacatro (Spain) joint venture.

Currently, he’s attending the Project Training courses at ÉSACTO Lido, in Toulouse.

Cose a caso – trucos asì o cosas detràs

‘Cose a caso’ is a creation project of physical experiments and close-up magic for intimate spaces.
‘Cose a caso’ is a solo who doesn’t pretend to talk about solitude, but who on the contrary tries to weave relationships with the audience and between the audience itself.

Experiments and illusions presented here are only a means to create relationships and connections.
It is a solo who does not want to be such and who tries to establish an active conviviality of other times between the illusionist and the audience.

Starting in a joyful and conversational way, the atmosphere transforms to veer towards different aesthetics. Manipulation of ephemeral materials, such as ashes, shadows, mirrors and light.
The magician plays with images to perform illusions: reality or realities? Magic comes out from the ensemble, it’s not the power of the magician.

Asking over the frontiers of not knowing when and how a trick starts or ends, if there’s a mistake or if magic was made from an actual and volunteering decision. Is this an illusion?

Firma foto: Thomas M.B.

Elena Zanzu is a performer, an investigator, a playwright. Her theoretical and practical interests gravitate around gender, disability, ethics, cures and artistic research methodologies.

Licensed in pedagogy at the National School of Circus in Montreal, with a Philosophy Master from the University of Bologna, she studied circus drama at the CNAC National Center for Circus Arts in France.

Between 2020 and 2022, she was part of The Circus Dialogues (continued), a project investigating circus practice and theory, at the KASK University, in Ghent. She teaches circus and gender at UAB. She’s a member of the CCCirque investigators collective, and curates events about research, artistic practices, drama and gender.

Her solo act “EZ”, which premiered at Mercat de les Flors in May 2022, and was awarded by the European platform Circusnext, addresses power dynamics and consent negotiation.

(HYP)NO Research (títol provisional)

Elena Zanzu begins a new research process, around trance induction techniques, hypnosis, magic, illusionism, fakirism and other extreme practices. Putting care, relationships, roles and power exchanges at the center.

Picture: Mila Ercoli

Grandchild of a grandmother who was going to become an actress when the Civil war started, son of a father who was going to become a clown until he discovered journalism, Manel Rosés Moretó, comes from a family of “semi-artists”.

Restless by nature, he finds in circus the means to be in motion forever. This takes him on the acrobatic path of training at the Rogelio Rivel circus school and at the DOCH Circus and Dance University, in Stockholm. During the first part of his professional career, he works with the Korean plank quartet -Balagans- at different circuses and cabarets, like Cirque du Soleil or Circus Roncalli. A severe injury forces him to switch to office work and during his recovery, he decides to train in other fields of stage arts. He takes a drama course at Beckett and once fully recovered, he continues training in movement, theater and drama. In the second stage of his career, he takes part in performances and acts like inTarsi, from the EIA company, or Desdèmona by Alba Sarraute. In 2016, together with Nilas Kronlid, he develops his first performance –Gregaris.

Current project: ‘Alias Mariano’

‘Alias Mariano’ talks about the fact of staying, about other possible lives and about past lives. About desires, infinities, and about our limited existence.

In the middle of the hall, a ladder that goes nowhere represents the constant temptation to escape, for the man who resides. Underneath the ladder, the objects that root him to this space and that he has to detach from in order to leave. How to leave this cul-de-sac? How to inhabit a place you already know?

While trying to answer these questions, he’ll have to learn how to move with agility and precision in this space, each time more diminished, under the ladder. He’ll have to extend the twenty-two-step climb to exhaustion. And he’ll have to repeat, in a loop, the movements, each time more complex. Challenges of a man who’s seeking to redefine himself, questioning that which his life has sculpted thus far; his office. An office of which he talks about through a mix of irony, melancholy, disappointments and tenderness.

Picture: Marta Garcia Cardellach

‘A hang up’

Between newspaper, madness and anxiety, we see the agony of a circus artist who is trapped between his technique and the manipulation of his alter-ego. The artist, as a subject of performance, “believing” in freedom, has been chained to self-exploitation.

The subject of our story – where passion and obsession, conscious and unconscious are mixed – travels on this journey, unable to recognize and understand this constructed reality.

We will look at society from the exhaustion, fatigue and suffocation of overproduction, hyper-performance and hypercommunication, which blur the concept of the real. 

What does this tiredness consist of? Is it really possible to accept that today’s freedom is paradoxically a new form of enshacklement? From these questions arrives the project ‘A Hang Up’, a piece of critical and contemporary character.

Image: Clara Pedrol

Furtiva

Hodei Arrastoa and Andreu Casadellà evolve this project to investigate the frontiers of contemporary circus and physical theatre. From which different points of view can one understand a circus object like the Washington Trapeze? With a special curiosity in regard to Rudolf Laban they seek cracks within their own language which allow unconscious impulses to emerge. intuitive movement which takes place in spite of ourselves, which carries us.

Futuro Pasado (D`Avenir Passé)

The bodies crossed by movement in the limits of the Trapeze and the Chinese Pole. Futuro Pasado explores through duality, the extremes, the sweet and the bitter, the seen and the hidden, between what is straighten and the deformity.

Two beings, two heights, two elements. The opposites manifest through moviment as a vehicle between the Trapeze and the Chinese Pole. A universe in which the exposed event is going to start soon. it doesn’t matter if the idea is correct or not. Between despair, loneliness and continues inexhaustible need to continue. The force emerges in every act, in every gesture.

A dialogue between the changing personalities which live together in one protagonist. On one hand a shy and withdrawn youngster. On the other, a proud and extravagant person. The confusion comes when he feels his way of living and being in the world become contradictory, an internal struggle which takes over his body and his psychic state.

In his connection with reality, he tries to mediate among these universes in order to elucidate questions between the requirements of the external world and his desires, most private pleasures, but it’s hard to achieve. His emotions show the transition between introversion and extroversion, greatness and inferiority, vulnerability and strength.