How to create a memory without saying the words that cannot be said?
Naxos plays with a story of princesses and labyrinths to tell the story of people who have no legends, of a mixed-origin memory lost in unplaced oral transmissions, in the diaspora, in the shame of migration, in the appropriation by one side or the other, in the celebratory narrative of an industrial future.
Our dispossession refers to the losing of a single war in a number of acts: the Civil War against the poor, the cultural war against memory and reparation, and the war, today, of these same powers that be against the people in resistance, who fight for justice, including climate justice, in the lands of our absence.
Who’s afraid of an immigrant memory?
Brigitte Vasallo
Writer, researcher and teacher, he has been invited to the Mercè Rodoreda Chair of Catalan Studies at the University of New York (CUNY), and teaches the Masters in Gender and Communication at the UAB, the postgraduate degree in Culture of Peace at the University of Barcelona, and at the Art and Thought Lab (LAP) of the Es Baluard Museum. A resident artist at the Academy of Spain in Rome, she is the author of Pornoburka, with a prologue by Juan Goytisolo; Pensamiento Monógamo, Terror Poliamoroso and Lenguaje Inclusive y Exclusión de Clase, all translated into various languages. She directed the First Festival of Txarnego Culture in Barcelona, the third edition of international congress Non-monogamies and Contemporary Intimacies, and was the international consultant for the Centre for Sociological Studies at Coimbra University. As a dramaturg, she has premiered performance research piece Un cos (possible) i lesbià, co-created with visual artist Alba G Corral.
Gena Baamonde – mullerona
Doctored in Fine Arts, and with titles in dramatic art, dramaturgy and stage direction as well as training in movement arts, equality, gender and sexual diversity. She has connections to Matarile Teatro, Tetra Galàn and dance festival En Pé de Pedra. She was resident artist at the Centro Geográfico Gallego with her project Corpo-puta-vaca-berro, as well as working as direction and dramaturgy assistant for Centro Dramático Galego, Factoria, Disque Danza, A Artística, Helen Bertels and Voadora. She founded the company Maria a Parva, with which she premiered the shows Mulerona, Xogo para nenas e Indignos, for which she wrote the original texts and directed. She is part of the creation and direction team for a range of projects at A Artística, such as Des-memoria-2 and Verde a tempo completo, and she created and directed the piece Arquitectura da Emoción. She directed Elisa e Marcela for A Panadaría company. She works with Andrea Quintana as part of the VACAburra collective.
Laura R. Iturralde
She has won the Maria Casares Award for best set for Resaca (il Maquinario) and best lighting design for Invisibles (RedrumTeatro), O empapelado amarelo (A Quinta do Cuadrante) and Bailar Agora (Marta Alonso Tejada). Also the Rogelio de Egusquiza Award, from the Spanish Association of Stage Directors, for the lighting of Fariña by Ainé Producións. Since 2016 she has been exploring in the field of live cinema and real-time visuals using live cameras, taking part in projects such as Lorca Namorado, Vesalli Icons do TAC, Trilitrate and Nostoc.
Concha Milla
Has a degree in Dramatic Arts from Barcelona’s Institut del Teatre. She has developed her career as director, actor, dramaturg, director’s assistant and drama teacher in Barcelona, Madrid and Buenos Aires. As a stage actor, she has worked in all three locations with directors such as José Sanchis Sinisterra, Helena Pimenta, Ramón Barea, Marc Angelet, Sergi Pompermayer, Israel Solà, Juan Carlos Gené and Carlos Ianni. In television, she has taken part in several series for TV3 including Com si fos ahir, Cites, La Riera, Temps de silenci, Plats Bruts and El cor de la ciutat. As a dramaturg, she premiered ESTIgMES, Interiors, Una nit, Refraccions and was a finalist in Temporada Alta’s 9th Tournament of Catalan Dramaturgy with the piece L’Ascensor. She has directed each of her works, except ESTIgMES, and has also directed La grieta, Una llibertat deliciosa i Calces de paper. She was assistant director to Mario Gas, Lautaro Perotti and Carlos Ianni.
