Telepatía

A few weeks ago, we received an invitation from the Festival 10 Sentidos (the Festival of the 10 Senses) to create a working group. This was a get-together of 7 local creators to investigate in a moment as delicate as this. The festival proposed its concept for this year: the border. Around this vast issue, we have debated about the micro and the macro, about the physical and the mental, and about how much we want, naturally, to always contact the other to suppress all borders—even more so right now in this worldwide climate.

Around these questions, we asked ourselves, “How can we really contact someone when we can't even touch?”

On May 18th and 19th, part of the materials we have been testing and developing will be shared with the simple desire to connect with others. In other words, we are not to assume that the general public is strictly there to see us, but rather, from time to time, some people are in the same space to share time, and they call it theater or dance. They come together to wonder if what they feel is being felt by others, if what is happening to them is happening to everyone, and if the small individual borders are insurmountable or if there is, from time to time, the magic of telepathy.

Text by: Celso Giménez

Participants: Celso Giménez, Inka Romaní, Eva Rausell, María Tamarit, Javier Hedrosa, Jesús Muñoz, and Héctor Arnau

Sound Engineer: Adolfo García

Production: Isabel Puig

A collaborative performance co-produced by Festival 10 Sentidos and Rambleta.

No-Hueco

In the west, the  meaning, action, or the very event of a large change has always been read from the perspective of the cause, from the perspective of the figure that changes against a background. All change depends on an act, a character who acts, and/or a figure or hero who performs a transformation. In our piece, however, we investigate the evolution, the change, not so much from the aspect of the action or the character that undertakes it but from the hollow side, from the perspective of the surface on which it is inscribed, the side that is affected by that change, as a negativity that comes from a hole, a kind of hollow negativity. Ironically, our medium is that of "performance." That is to say, in a way that happens through the action. Then, we will have to ask ourselves, in what way do things happen when things don't happen? In what way do things happen under the logic of the hollow side of the inscription surface?

In NO-HUECO, things happen in a certain way without happening; it is not so much about transforming the effective figures that we put on stage but about causing a displacement or a sliding on the surface, in the plane on which the figures become visible. It is a displacement or event in some invisible, molecular way as if a white crime, an invisible murder, or a deep-seated homicide were taking place that is barely perceived, a murder without a murderer or a corpse.

Concept and direction: Norberto Llopis Segarra 

Performers and creative collaborators: Santiago Ribelles Zorita, Inka Romani Escriva, and Norberto Llopis Segarra.

Visuals: Juan Peiró

Photo and video: Nelson Lizana

This performance has been produced thanks to the residency program Cultura Resident from the Consorci de museus de la comunitat valenciana (Consortium of museums of the Valencian community) and in collaboration with the cultural center Las Cigarreras (Alicante) as well as the funds for artistic productions by Ayuntamiento de Valencia (Valencia City Council) and the creation residency program from La Caldera (Barcelona).

El Conte de Persepolis

A science fiction story that imagines alternative worlds. Two girls living on different planets find a book titled Persepolis. Reading the book raises questions about the situation of women in history. From here, they both embark on a journey through history, space, and time that will bring them together. With the tale of Persepolis, we pay tribute to the science fiction writers who, with their literary works, have questioned from the margins the status of women and their constant loss of rights.

Concept and direction: Tatiana Clavel and Raúl León

Choreography and performance: Paula Romero, Inka Romaní, and Julia Zac

Movement direction: Santi de la Fuente

Human Landscapes

Human Landscapes was choreographed and conceptualized by Germana Civera with sound design by Didier Aschour. It is an embodied reflection on history, memory, travel, encounters, the migration of beings, gestures, and stories. Choreographer Germana Civera draws on her family’s own years in exile during the Spanish Civil War to create a multi-sensory performance in which the audience moves throughout the venue, following seven dancers on a migrant journey.

In an age marked by global dispersion and displacement, Human Landscapes seeks to address the physical and mental forms of alienation that unite all migrant subjects, regardless of era, culture, and circumstances. It focuses on the stories and discourses of migration, the imaginary and poetics of migration, and the transmission of exile experiences through history, memory, music, landscapes, and choreography.

Human Landscapes was performed in Atlanta, Houston, and France.