Co-production 2018

ARTISTAS ASOCIADAS A LA PODEROSA

No Estamos ARTAS #3 {propostes escèniques}

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Artists: Anabela Pareja Robinson, Marina Colomina, Mònica Muntaner, Bea Fernández, Mariona Naudin, Cris Celada, Carmelo Salazar & Rosa Muñoz

http://lapoderosa.es/ca/artas

http://lapoderosa.es/ca

https://artaspoderosa.wordpress.com/

http://leeressexy.com/

http://anabellapareja.blogspot.com/

http://www.tea-tron.com/beafernandez/blog/

https://marinacolomina.wordpress.com/

http://lapoderosa.es/es/artista/mariona-naudin

From La Poderosa, with Antic Teatre’s suppport, we offer a series of artistic practices that we’ve been cooking up within these Poderosa walls all year.

N.E.A. (No Estamos ARTAS) is not only a short programme of performance proposals, but also and more importantly the manifestation of our intent to keep producing a different order of things and a different vision of what performance is… we want to show things that otherwise would never be seen. For this reason we’re taking over Antic Teatre, home to all and none, and we’re occupying it not just as a space for contemplation but also as a place for exchange, creation and critical analysis.

During these four days of occupancy we’ll uncover all the materials, subject matters and ways of doing that in some cases were not included in finished productions, or in others, were the parts left behind along the way but that remained with us: everything we’ve touched, stained and been affected by that the spectator doesn’t see. Everything that surrounds us, accompanies us, impels us and helps us get through the creative process.

We want to look through the peep-hole and see everything that goes on in a place such as La Poderosa, to understand how the people within share their knowledge, thoughts, friendship and lives.

We hope you’ll come!

ARTAS (Artists associated with La Poderosa)

Cris celada Las Cara B (New drama) 25 min

My name is Cristina Celada, and I’ve been a member of the ARTAS collective since 2016. And delighted to have ended up here: La Poderosa was the first place, the first house to support the work of El Pollo Campero.
For this encounter taking place at Antic Teatre, I’ve decided to review the three pieces that El Pollo Campero have shown to date: Sekvantaro: piezas codependientes de duración relativa en las que las actrices intentarán no hacer teatro; Las actrices siempre mienten; Parecer Felices.
I invite you to have a look at the things that didn’t make it into the piece, but are part of the piece. The company investigates along the following lines: favouring texts of our own creation and creating fiction out of autobiographical material; intermingling the language of cabaret, café théatre, and small format shows with new performance languages; continuously asking ourselves: ¿what does this need to become theatre? ¿what does it need to be contemporary?


Anabella Pareja Robinson La Forma (new drama, new body languages) 25-30 min
This is what I have named this investigation, which for the time being has become a dance that is nowhere near reaching a conclusion.
When I began studying form, I got all creative and invented a series of exercises which I entitled Prácticas para hackear la forma. (What a great idea! I would think every time anyone asked me what I was working on.) I rehearsed these like an athlete, with the idea of surprising myself with a new physicality. As this turned out not to be enough, I started using other people’s practices; some I asked for, others I appropiated. But, as Agnes Martin (and probably others) used to say, you have to be careful not to have ideas, they’re most inadequate.
Now I’ve placed those practices to one side, and forgotten the tricks I was planning to use and the choreographies I’ve invented; and thanks to Paz Rojo and Sara Gómez I decided to return to the basics. Between matter I practice by and in doing, once again; sensibility, perception, the experience of movement, what already is. And it is by this doing that I found this dance.
Everything is form.


Bea Fernandez in collaboration with Marina Colomina El espacio negativo (new body languages) 25 min

This ARTAS meeting happening here at Antic Teatre finds me at a crossroads in my practice; but where I’m most ‘involved’ right now is with this transmission I’m doing with Marina, and we’ll be presenting a new version of it at La Caldera as part of the Corpografies #3 cycle next weekend (24/11/18).
Working with Marina I imagine us creating a negative space for our experience of ‘transmitting’ Escorzo, for presentation at La Caldera.
Negative space is the space between the various elements of a composition. A negative is a film that after exposure and processing produces the captured images in complementary values, where light appears dark and shadows become areas of light.
Negative photography composition: Marina Colomina


Rosa Muñoz & Monica Muntaner Al voltant de “si em rento les dents morirà algú” (new body languages) 30 min

For this encounter, Rosa and Mònica aim to share the various layers through which they have been creating their piece Cuatro octavas y media, el NO CONCIERTO; a concept for a show that looks like a concert, but that is never quite established as such.
“The idea is to play with the various materials we are using to create the piece, looking at each one independently and from different perspectives. In this way we give ourselves the opportunity of valuing them as discrete units and also, perhaps, as short pieces in themselves.
Original texts, song lyrics, well-known melodies that jog everyone’s memory, covers of existing tracks, Rosa’s body, Mònica’s body, dance, Jeff Buckley’s biography, ours…. a universe exploding with sensations, forms and textures.”


Mariona Naudín Esquarterant el document (New Drama) 45 min

Mariona Naudin, a member of documentary theatre company Mos Maiorum, deconstructs her latest piece, Gentry, and explains why and how she devised it. From the origins of Brand Barcelona to the most recent consequences, Gentry is an x-ray of our city made theatre. With David Bravo, town planner and architect.
Mariona Naudin (Barcelona 1980) works with live arts. She trained in performance and theatre and has worked in Spain, Argentina and Germany. Her pieces focus on the body and anthropology. She is currently a member of two companies, Mos Maiorum and Los Detectives.


ARTAS is a collective of artists associated with La Poderosa that operates as a focus for experimentation and co-learning in which to share projects, practices and know-how, weaving alliances with other local communities and realising subversive actions related to current reality.
As a research platform it brings together a range of lines and artistic processes and encourages collaboration and exchange. It proposes continued cooperation that experiments with collective forms of working and self-management. It aims to transmit the idea of movement, body and dance to other areas of life, opening up a range of experiences around the practices it focuses on. It’s a space for potential and is in itself an artistic creation practice.

[BIOS]

Cris Celada was born and raised in Madrid where she studied education and teacher training at university. Later she trained in several branches of dramatic arts and performance movement as well as dubbing. She then moved to Barcelona where she developed her own theatrical work combining contemporary creations with spoken word performances, café theatre and cabaret. She currently works as an actress in shows by companies she admires (El Conde de Torrefiel, Cristina Blanco) and devises and acts in her own company, El Pollo Campero, comidas para llevar. She is a member of the ARTAS collective of artists associated with La Poderosa in Barcelona.

Anabella Pareja Robinson
I work with live arts, movement and choreography.
I’m from Mexico and have been living in Barcelona since December 2017.
My most recent works are: La Forma (investigation in progress, 2018-2019 with support from ARTAS); El Desierto (2017); La Masterpiece (2016); 9 maneras de morir de forma fantástica (2015); Historias posibles del cuerpo (2) (2014; and El fin de los principios (2012).
I have had the opportunity of presenting my work in various locations of Mexico, Buenos Airtes, Montevideo, Madrid, Barcelona, Berlin and Belize.
I am part of the Colectivo AM, a collective of choreographers from Mexico City.
Because of my interest in education I worked in the education department at the Digital Culture Centre of Mexico City between 2013 and 2017, and I try and run workshops aimed at all audiences in which to question and share methods, methodologies and work tools.
I have trained in Madrid, Buenos Aires and Mexico with artists such as Rabih Mroué, Paz Rojo, El Conde de Torrefiel, Cuqui Jerez, Marten Spangberg, Fabiana Capriotti, Eugenia Estévez and Francesc Bravo.

Beatriz Fernández is a dancer, choreographer and curator who lives and works in Barcelona. "Ever since I was very little I have felt a great urge to dance. I graduated in choreography at the Institut del Teatre and not long after I was dancing professionally with Danat Dansa, touring the world from gig to gig and from theatre to theatre… I learned a lot and became exhausted at the same time. I lived for a year in the Big Apple and this marked a before and after for me both in my personal and professional life. From this point on, I started working with other artists, particularly with Carmelo Salazar, who has become a fixture in my trajectory; with him I have developed research processes and created work that is very indicative of how a body moves. I’m co-founder of Las Santas with Mònica Muntaner and Silvia Sant, and the three of us set up La Poderosa – espai per a la dansa i els seus contaminants, a project which remains very active 15 years later, and has repercussions on our immediate surroundings. Having submerged myself for a few years in the memory of performers and the
body of dancers as archive, I live on other people's work with pieces such as Los que se ven entre si, Tres personas todos los cuerpos and Restos de mis series. I developed Muy Experimental using labs and meetings between students and professionals, working with tools that encourage perception, attention and decision-making on stage and in real life. Este lugar entre emerged from these years of research working with Oihana Altube and Clara Tena.
I’m currently working on a practice for the transmission of knowledge and structure of one of my first solos, Escorzo, to Marina Colomina, aiming to bring together two inter-generational artistic and choreographic perspectives and reviving experiences through action. At present my attention is focused on Estela, a two-year-old who has changed my life, and from here I work on multifocus and scattered attention, in which I’m very interested.

Marina Colomina (Alicante, 1985) lives and works in Barcelona. Having graduated in Fine Arts, she moved to Amsterdam where she studied choreography at the School for New Dance Development (SNDO). She was awarded the DanceWEB grant in 2014. Her work focuses mainly on dance, and she has shown it in the USA, Poland, Germany, the Netherlands, Portugal and Spain. She has worked on different projecs with Deborah Hay, Benoit Lachambre, Ann Liv Young, Marta Ziolek, Quim Bigas, Min Oh and Bea Fernández among others. In 2015 she started Abast Elàstic with Carles Casallachs, and with this company she expanded the limits of dance into other territories. In 2016 she joined the ARTAS collective at La Poderosa, and since 2017 she has been part of the Los Detectives company together with Laia Cabrera, María García Vera and Mariona Naudin.

Mònica Muntaner (1966) trained in contemporary dance in Barcelona. She has worked as dancer/performer with a range of creators and companies. She is joint artistic director of La Poderosa, a space for creation in Barcelona established in 2000, and cofounder of Las Santas (multidisciplinary artist collective) and ARTAS (artists associated with La Poderosa). She complements her artistic facet as creator by giving dance lessons to children and young people, as well as training professionals. She has taken part in body awareness workshops for a series of social projects working with immigrant women, women at risk of social exclusion and older people. She is currently in her fourth year of training as a Hatha Yoga instructor at the EQUILIBRIUM – Bhakti Yoga Shala school in Barcelona, and is working on her latest project with Rosa Muñoz.

Rosa Muñoz (1967) directed dance company RARAVIS together with choreographer Andrés Corchero between 1995 an 2009. She has combined her solo work with collaborations with other choreographers such as Sofía Asencio, Carmelo Salazar and Søren Evinson, performer Jorge Albuerne and poet Eduard Escoffet. Having taken a voluntary break for maternity leave, she is now immersed in the creation process of this new piece, Cuatro octavas y media, with Mónica Muntaner, creator and codirector of La Poderosa.

Mariona Naudin is a performance artist. She trained in Spain, Argentina and Germany and holds a degree in Theatre of Gesture from Barcelona’s Institut del Teatre. She has worked for choreographers and directors (Retrospectiva by Xavier Le Roy) but also develops solo work as an independent creator: VIP, homenaje a Severiano Naudin received the Jury Prize at the 100th Berlin Festival (Teatre HAU Hebbel am Ufer). Her other work includes Una familia balla (2015), Mos Maiorum (2016) and Kopfkino (2016). At present she is a member of documentary theatre company Mos Maiorum and dance theatre company Los Detectives. In 2016 she was artist-in-residence at El Graner (Barcelona). She has also been a member of the ARTAS collective at La Poderosa, and studied Cultural Anthropology at Barcelona University. She combines her creative work with teaching theatre and performing.

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