This Season 2018/19 sees the incredible work of 4 diverse choreographers; Maria Campos and Guy Nader, Jose Agudo, Lisi Esteras and Francesco Scavetta 

 

R O U T E S

Guy Nader & Maria Campos

This new piece by Guy Nader and Maria Campos is based on a vocabulary based on repetition pattern work, weight and group work, and characterized by high precision in time and space.

Her minimalist approach to dealing with these elemental concepts draws our attention to a deep analysis of body mechanics and the anatomy of collaboration between multiple bodies in action. The work of GN | MC focuses on group-dynamic constellations that are based on the complicity of each individual and, by constantly networking with the others, create a unique mass of bodies that gravity defies incessantly.

 

 

 

 

 

 

“All I know of which I am not thinking”   

 

Francesco Scavetta                                                                     
With costumes and set design straight out of the 70s-, partly kitsch tiki lounge, partly Wes Anderson film set, “All I know of which I am not thinking” takes us to places comforting and strange. The work is bizarre yet familiar: offbeat, funny and poetic. The piece explores, in a peculiar blend of politics, poetics and humour, the notion of truth and falsehood in theatre and everyday experience, bringing forward an investigation started with the performance “Hardly Ever”. 

The project identifies the theme of lying as iconic and relevant on both a sociopolitical and personal level and the interweaving of semantics and performativity is central in the work. 

 

 

 

 

 

No human no cry

Lisi Estaras

Lisi Estaras questions complex issues of our era through her signature dance vocabulary, and presents a grim reality of emotional impact with astonishing expressiveness. Lisi’s choreography finds balance between fragility, uncertainty and hope within the context of contemporary dance performance. She creates landscapes and atmospheres with a particular sensation and gives space to the audience to include their imagination. The performers intertwine personal stories, memories and life experiences. Even our worst experiences gain a certain nostalgic glow over time because they made and shaped us and explain who and what we are.  Lisi combines her and performers’ practices in a multidisciplinary narration and questions social and political engagement, personal growth, and the power of the individual within a group. How do individuals interact, behave and change according to the circumstances.  Music plays an essential role in her work. She creates special soundscapes made of sublime symphonies in contrast with sounds recognised from everyday life, nature and human voice.  In each piece Lisi creates a new universe.
 
 

 

 

 

 

 

 

BHAJ – to belong to

Jose Agudo

Bhaj is a search for belonging. Departing from personal stories that become universal. It’s about dealing with our attachment to the flesh, to the space, to ideas, to other people, to a country, to a family.A journey of transformation. Connecting with the power of ritualistic movement to ascend into a trance. Moving and reaching out allowing us to examine our own lives and the way we live.

 The Sanskrit word bhakti is derived from the root bhaj, which means "divide, share, partake, participate, to belong to".[2][15][16] The word also means "attachment, devotion to, fondness for, homage, faith or love, worship, piety to something as a spiritual, religious principle or means of salvation".[17]

 The Sanskrit noun bhakti is derived from the verb bhaj, meaning broadly “to share, to possess,” and occupies a semantic field that embraces the notions of “belonging,”