Trànsits

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.

Cavitat f.

Each body is a synthesis of his own history. Memory can be explicit when we can reasonably explain or describe a concrete experience, or implicit when the body reacts to experiences that cannot be processed by the mind. “Cavitat f.” is an artistic project that investigates the materialization of memory in the body, or in other words; embodied memories: everything that is recorded on the body as a movement, gesture, sound or posture in memory (mostly unconscious) of a concrete experience. The idea is to facilitate a work that puts the body in relation to the codification of these memories, to understand the forms and their learning processes, to see which ones and why they have been forgotten and if it is necessary to make them visible and perhaps resignify them. The project wants to observe how the context affects all this and also the relationship between two or more bodies and think how to generate collective body memories.

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.

Ino

Seven women, do not have much weight in this world.

So we thought: “What if.. we pile each other up?” INO is us, dressed in various layers of social conventions, just like everyone else. Layers that bother us and that don’t allow us to move freely.

We grab one another by our clothes, we pull each other, we help each other to remove the layers that cover us. We realize that it’s heavier to carry the weight of social expectations than that of our own bodies.

We hold onto one another, we cling to each other, we support each other. Simply it is what we want to do, together.

La companyia neix en 2018 a la ciutat de Rio de Janeiro. En aquest moment, Thiago Souza i Roberto Willcock són estudiants de l’Escola Nacional de Circ do Brasil. Tots dos s’adonen que comparteixen la passió per la tècnica de la corda llisa però, al mateix temps, un sentiment d’insatisfacció amb l’aparell.
Amb la idea de buscar altres possibilitats a més de la clàssica tècnica de corda, els artistes van iniciar la seva recerca. Les cerques pretenien plasmar les següents preguntes: com trencar amb la idea de verticalitat/altura en la corda llisa? Com fer nusos, no sols de forma vertical? El 2019 els artistes es muden a Itàlia per estudiar a la FLIC i treballen amb Flavio D’Andrea, Roberto Magro, Florent Bergal i Eva Ordoñez. Aíxí, treballen actualment en la que és la seva primera creació.

Cá Entre Nós

“Quan ens acomiadem amb la promesa de no estar lluny per més de 10 dies, vaig saber que no seríem capaços de complir aquesta promesa… Encara tinc espai per a tu, aquest tu en el qual t’has transformat lluny de mi… ”

La revelació de la intimitat, o millor dit, de la súper intimitat. Fora mida, però que succeeix aquí i ara, entre nosaltres. “Cá Entre Nós” exterioritza l’ambivalència entre poder i dependència, riscos i confiança en les relacions, que sorgeixen en un temps i un espai coincidents. “Cá Entre Nós” és una expressió brasilera que podríem traduir com “entre nosaltres”. Però no per casualitat, en portuguès, la paraula “nós” (nosaltres) també es pot traduir com a “nus”. Al mateix temps, “cá” (aquí) reforça la idea d’un aquí i un ara. Així, “Cá Entre Nós” és una narrativa creada a partir de la relació entre els cossos presents en escena i es desenvolupa a través, sobre i en funció de l’elaboració de nusos.

Elles

A multidisciplinary show. A combination of circus, movement and live music searching for a language that will define them.

They investigate identity and gender, treating them from a fresh point of view. A stage concert of electronic music where two people walk the scene in a continuous ecstasy and bewilderment, questioning their identities and their way of relating to each other. Questioning her identity as women and the clichés they are associated with. What is a woman? What is a man? What are we if we are nothing?

Out of control, they step on glass, they mix music live, they play instruments face down at several meters high, they suspend each other by the hair, they throw darts, they explode apples, they eat them and form body structures impossible to decode.

Picture: Mar Bautista

Niebieski

Four people enter a blue room, as a plane about to take off. A space of emotional management which reveals its system, adapting and offering what is necessary to modify and move freely within those aspects that society calls unworthy and secret.

They will appropriate symbols of popular culture through playing with the everyday objects that the room provides. A circuit where painfulness and dirtiness mutate into a ritual of initiation of which they were deprived. To develop a way to relate to the emblems of patriarchal binarism will lead to a collective narrative. They will put empathy into practice, to navigate all the processes of turning empowering everything that once was inappropriate.

Pròxima Centauri

The scene is full of autumn leaves. A pendulum swings at ground level and removes the leaves with the air it generates. From here the staging plays between what is natural and simple and what is artificial and complex, through elements such as water, leaves, pendulum and a cyr wheel.

With the help of these elements, it explores the languages we use through science and art, seeking in creativity the common point between any scientific and artistic discipline. It takes as a reference the evolution of a star similar to the sun and is reflected in its vital phases from birth to death. Is science simply a way of understanding the art present in nature?

The piece is named after Proxima Centauri: the closest star to our solar system located about 4.2 light-years away and is part of a 3-star system, one of them very similar to our sun.

Polychromatic Void

For some time now I have been quite obsessed with ambient music and the generative systems that many sound landscapers use to reach new horizons and textures. After researching a lot about generative music, I decided to do the same with juggling, and look in the direction of a couple of subgenres that I currently call Ambient Juggling and Generative Juggling.

Ambient Juggling is an unpretentious juggling, it is an act that has as its engine the constant dissolution, it exists without having to stand out with respect to the environment. Generative juggling goes a step further, trying to understand the whole environment as a system that gives inputs and receives stimuli, and based on all these parameters it evolves towards unplanned places, but they can be bounded. Polychromatic Void is more aimed at “generative juggling”. Create a system between juggling, juggling, video, music, lighting, code and other elements, where everything is connected and in a constant dialogue.

‘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

liturgia atómica

‘liturgia atómica’ is a stage play that inquires into and brings together various personal and global concerns through circus, dance and physical theater. Focusing on Butoh and Trapeze techniques, it plays with fragmented memories of a traumatic past and their manifestations in the body.

Through a soundscape that combines whispers, music and whale sounds, the show recreates a kind of ritual from all that is hidden, and opens the door to the possibility of diverse encounters with faith and enlightenment – this in the face of the existential void that is presented by multiple contemporary crises: climate change, violence, the pandemic, etc…

Crèdit: Katarina Rothfjell

‘Mariage’

Based on the idea that all stage scripts include people, objects, and actions, Collettivo Collettivom creates a code called a “POA system”. This path of conceptual and scenic exploration leads them to a series of reflections: on the behavior of a group in relation to elected rules; on the process of appropriating a rule; on interactions between different communities that do not have the same rules; and on the search for the moment that leads us out of pre-established agreements.

The aim of the research is to observe all the reactions of adaptation, resistance and personal interpretation that occur in this process of translating theory into reality; in this context, it focuses on everything that cannot be controlled or predicted. Despite the codes and formulas: the human variable.

‘Apus’

The Apus apus (black falcon) is a bird that has adapted extremely well to a life lived completely in the air and can spend nine to ten months flying non-stop. That’s why this bird eats, copulates and even sleeps while flying, and only lands to nest.

Through movement, the techniques of hand to hand and handstand, Guillermo and Enrico investigate how they can stay airborne as long as possible without touching the ground. What relationship does the role of the top mounter have with the air? What about his base? How long can the base carry his colleague without him touching the ground? With these premises, the two artists aim to generate a language of the body between them that extends from but is more than mere technique, and to carry to the end the resistance of their two bodies.

‘Kristall Bohème’

‘Kristall Bohème’ is a research and creation project and a platform for visibility and experimentation for circus language and blown-glass crafts, a trade that is disappearing.

It is a performance with a circus artist, a musician and a lyrical singer which delves into transgenerational memory, roots and footprints. It seeks a balance between what is new and what is old, claiming that the former cannot exist without the latter.

The composition of the show is based on movement and acrobatics on the U-String, fakirism, and object manipulation.

Picture: Clara Pedrol

prince_LE_ss

A dark and disturbing tale about the end of a relationship. A sudden bereavement. Something that was there and now is not anymore. A failure. A mismatch. A failed happy ending.

What happens if the Princess finds herself ineluctably without (any) Prince?

Princess as an example, the object of a visual research on this archetype and its fairy-tale, oneiric and unreal environment reinterpreted through the black veil of mourning, obsession and desire, generic character protagonist of a story that wants to tell the attempt not to avoid what socially and emotionally is considered “suffering” that presents itself as a unique and compulsory path to reach a state of lasting well-being.

Discovering that Prince Charming, the longed-for salvation, is not to be found in someone else, in something external, but only in the acceptance of loss, in letting go of what we were convinced was necessary to our existence, in abandoning everything to rediscover ourselves naked and strong enough to live, alone, our own happy ending.

Pivture: Li Mi

CAí és el nom de la companyia de circ contemporani creada per Sabrina Catalán i Elia Pérez. Utilitzen els aeris com a llenguatge d’expressió amb el qual portar a escena materials personals, reals, vius i espontanis. La companyia crea el 2014 el seu primer espectacle; ‘No es la boca la que va a la cuchara sinó la cuchara que va a la boca’, peça de 60 minuts que es construeix a través de la recopilació d’històries reals. S’estrena el 2015 al Teatro Circo Price de Madrid i es programa en nombrosos festivals i esdeveniments en l’àmbit nacional i internacional. En el seu segon projecte, la companyia s’endinsa en un nou repte en el qual la mirada està focalitzada en el procés creatiu.

‘Masa madre’

‘Masa Madre’ és un procés d’investigació amb l’objectiu de crear un espectacle de sala que combini tècniques aèries, text i moviment d’una forma expressiva, directa i real.

“Masa” fa referència a l’existència mateixa.
“Masa” parla de la caducitat de les coses.
“Masa” dura una cocció.
Ens fa qüestionar el pas del temps.
Sobre com ens afecta la mirada dels altres amb relació a la forma que agafem.
Sobre com ens agrupem o no.

“Madre” fa referència a la maternitat, a com aquesta és viscuda des de dins i observada des de fora.
“Madre” parla d’estats canviants.
“Madre” dura una expulsió.
Ens fa qüestionar una confrontació cap a la persona i/o artista, un regulador de l’ego.
Sobre com ens afecta la vivència.
Sobre una maternitat amarga, dolça, àcida, salada, agria, saborosa…

Firma foto: CdAT

‘Happy’

‘Happy’ is a manifesto. A rupture in the conception of life; the possibility for each person to de-construct his own way of existence. The style, the aesthetic of opposites who meet and converse. It is our naked, rebellious, innocent, spiritual, lucid, and above all human being. A hymn to freedom reconnecting with cruelty. We put our limits, accidents and despair at stake; we claim our dissident, deadly and vulnerable existence as a form of circus.

By accepting who we are in the present moment, the fear of death escapes us. In each situation: new possibilities of changes, reconfiguration and metamorphosis. When all the doors are open, when all the anchors drown and nothing holds us to the ground, we can finally dance without falling.

Picture: Carolina Castro

¡Proyecto SENA!

The creation of a superhero union is the starting point of this piece, which takes place during a union event. With irony and humor, the aim of the characters will be to raise awareness about complex issues in the union sector such as job insecurity, sexism, old age and media power. To this end, theatrical tools will be used on stage as well as a mockumentary with “testimonies” from people involved.

We see heroes bravely perform extraordinary feats; but we also discover  their more human side, moving them to intimate spaces where they show us their personal conflicts, their vulnerabilities and their insecurities. This concept of an antihero serves as a metaphor for talking about aging in the artistic field, and especially in disciplines linked to movement. We will be talking about certain physical limitations, injuries and the resistance to disappearing as a result of them. This is a large-format, multidisciplinary piece that fuses architecture, vertical dance, theater and digital arts.

Picture: Frank Díaz

Twenty years later, still here!

‘Twenty years later, still here!’ is a sample of twenty years of traveling between two female artists that is shown through circus, art and friendship. Lotta Paavilainen and Stina Kopra started working together at Sorin Circus in Finland in 2001. At first they were just girls; now they are women, artists and mothers. The years they’ve spent together have been rich in both good and bad experiences, and now they themselves are the inspiration for this autobiographical piece that combines circus, theater, stand up comedy and music.

The show is aimed at those who had to fight windmills to achieve their dreams; those who have suffered prejudice due to their gender or have been questioned; and finally, also those who are tired of fighting and have given up. Additionally, this piece is dedicated to nostalgic people who lived their childhood in the eighties.

‘Peluda’

On stage, a woman with long hair tries to regain every strand and style she has shed throughout her life. ‘Hairy’ questions the reality of what we see. A story that travels from glamor to decay through hair, via the language of poetry and the absurd.

We are in a time when we are living our lives through a screen. We show only one side of our reality; we try to fit into the patterns of beauty. Always happy and bright, we pretend to have no body hair, no gray hair, no wrinkles. We hide behind our phones, behind our makeup, behind our surgeries and filters. We live in a time when reality seems compromised; when we are often disconnected from ourselves and our truths.

Firma foto: Nora Baylach

Cía Papaya està formada per Lorena Madurga, graduada en Belles Arts per la Universitat de Salamanca. La seva inquietud per a les arts escèniques, la va dur més tard a Barcelona, ciutat on estudia circ a l’escola Rogelio Rivel i dansa contemporània a l’escola ESDM. Actualment viu a Barcelona i es continua formant amb diferents ballarins. Durant els darrers anys també s’ha dedicat al dibuix i a la pintura i ha iniciat el procés de creació de la marca de roba LoreLoraLoro.

‘Manchas’

L’espectacle es divideix en tres parts vinculades a la tradició cristiana: naixement, mort i resurrecció. Aquesta estructura agafa de referència ‘El jardí de les delícies’ d’El Bosco, un quadre que al segle XV funcionava com a enciclopèdia de temors i dimonis. Aquesta obra pictòrica també és una referència per al desenvolupament del bestiari d’animals estranys que s’inclouen en la peça.

La creació de ‘Manchas’ neix del desig d’unir les arts escèniques amb les arts plàstiques. Es tracta d’un espectacle de roda cyr que conviu amb materials com el carbó i els vegetals. És una peça que s’assembla a una macedònia de fruita. De manera literal i figurada, aquesta macedònia es converteix en un suc que es prendran totes les persones que assisteixin a la mostra.

Fitxa artística

Idea original i intèrpret: Lorena Madurga
Direcció: Rafa Jagat i Lorena Madurga

‘Masha’

‘Masha’ represents a space to observe, reflect, interpret and live with the unexpected and the alien. It proposes a creative laboratory made of the human; a place to question the corporeal, social, and performative. To position oneself in sincerity. To create a parallel world with one’s own language, with intertwined actions that relate to each other in an irrational way. 

In our posthuman era, this show focuses on the evolutionary nature of humanity, its denaturalisation and dehumanization. The present trend toward the unification of thoughts, images and discourses is not sensitive to the multiplicity of individual realities. In this context, existence itself leads us to cease to exist, and this contradiction puts us in a framework of constant absurdity and failure. Reflect on the idea of existence through the lens of programmed obsolescence, and how accepting our self-destruction leads us to a state of mental stress and paranoia.

‘Corcs’

THE INSECT

“nyii…nyiu!…nyiuuu…prufm… cris…nyuuuu!nyic…fius…tururitururitururi!!!”

That’s how this insect sounds. That’s how it thinks. That’s how it is. That’s how it moves. It faces something unknown, which at the same time is extremely familiar.

THE HUMAN

He watches it. The insect moves slowly towards him. He may feel as if he is trying to ignore it; or he may feel an uncontrollable rage.

THE INVISIBLE

No one sees him, but he is there. What role does he play? Maybe he gives rhythm to the world … Maybe he is the one who moves the threads …

CORCS is an encounter between worlds that coexist in parallel.