Bekristen / Cristianos

Capítulo II. Somos la guerra

Desgraciaíto de aquel 
Que come pan de mano ajena 
Siempre mirando a la cara 
Por si la pone malita o buena 

 

 

Somos la guerra es una obra rota, hecha de fragmentos, un evangelio apócrifo que recoge otra visión del mito, un relato no-oficial del cuerpo que espera el milagro: La anunciación y la experiencia de la maternidad son el detonante. 

 

 

La propuesta es puramente intuitiva, un sucederse de imágenes, bailes y paisajes sonoros relacionados con lamentos (el agua como elemento clave del folclore universal, de las lágrimas al sudor, del erotismo al mal presagio, del nacimiento a la muerte), la guerra (la global y la privada que hace huella en cada cuerpo) y referencias marianas desde una perspectiva pagana. 
Una de las piezas clave de la obra desarrolla el concepto de trabajo para acercarse a una propuesta del folk del siglo XXI, un homenaje al cuerpo actual, donde el trabajo es al capitalismo lo que el rezo al cristianismo: una forma de asegurarse el paraíso, el ascenso, el éxito. La producción como religión, el sometimiento como forma de vida, pero, como en el folclore, la autocompasión es suplantada por la fiesta, la miseria “se celebra” en nombre de la vitalidad y la potencia que alcanzan los cuerpos mientras soportan el peso del mundo.

 

La obra es también un intento de dinamitar el concepto de elenco, de esquivar las ficciones de la coreografía convencional y tratar de escuchar la potencia del cuerpo per se, sin recurrir a alfabetos intelectualizados propios de la danza y proponiendo en su lugar la noción espontánea de baile.

 

La obra está acompañada por la compositora Le Parody, con la que Luz Arcas comparte la pasión por el folclore y la electrónica y la necesidad de cuestionar las estructuras verticales que dominan el mundo.

DIRECCIÓN ARTÍSTICA Y COREOGRAFÍA, DRAMATURGIA, VESTUARIO Y ESPACIO ESCÉNICO

Luz Arcas

MÚSICA

Sole Le Parody

BAILE

Luz Arcas, Marcos Matus Ramírez y Raquel Sánchez

ASISTENCIA ESCÉNICA Y COREOGRAFÍA

Abraham Gragera

ACOMPAÑAMIENTO DRAMATÚRGICO

Ana Sánchez Acevedo

AYUDANTE DE DIRECCIÓN

Carmen Quimono

ILUMINACIÓN

Jorge Colomer

FOTO Y VÍDEO

Virginia Rota

AUDIOVISUALES

Jorge Colomer y Jorge Juárez

ASISTENCIA FIGURACIÓN

Imanol Méndez y Lara Megía

DISEÑO GRÁFICO

María Peinado

PRODUCCIÓN

Gabriel Blanco y Paola Villegas (Spectare)

COORDINACIÓN DE PRODUCCIÓN

Alberto Núñez y Álex Foulkes

TOUR MANAGER

Andrea Méndez Criado

DISTRIBUCIÓN NACIONAL

Lola Ortiz de Lanzagorta (New Dance Management)

DISTRIBUCIÓN INTERNACIONAL

Austin Rial (Rial & Eshelman)

“Con el ‘ayeo’ flamenco de una saeta y los lamentos de otros pueblos ‘sampleados’ de fondo, el cuerpo de Luz Arcas entraba en trance y ejecutaba su danza hipnótica.”

Toná

Coproduced by Madrid Autum Festival

Toná emerged in the course of the various trips to Malaga that I made to visit my rather ill father. In his home, where I was raised, there was a reencounter with references, icons, symbols that I had almost completely forgotten. I recalled anecdotes and fears, reconnecting with the folklore of my childhood. I wanted to dance a feeling true to that folklore: death as a celebration of life, the “fiesta”, and a catharsis that is both individual and collective.
I was working on a new project at the time with musician Luz Prado and visual artist Virginia Rota. I suggested to these two women, also from Malaga, that we explore this common poetic patrimony. Luz had worked extensively on the “verdiales”, a folk musical and dance tradition typical of Malaga that predates flamenco and can be traced back to pre-Roman times. The “verdiales” probably originated in Phoenician times and have, to a large extent, resisted successive cultural appropriations and all attempts at domestication. Virginia, for her part, had just opened an exhibition about mourning in Andalusia.
Collective memory and popular imaginaries are vital because they give us shelter from the storm, providing refuge from individualism, inviting us to forge a common shared narrative. As with anything related to the “people”, this cultural memory is undoubtedly problematic at multiple levels. But returning to revitalise said memory by dirtying and renaming it is an act of liberty that the collective can alone administer through performativity in defiance of cultural totalitarianism or any neoliberal attempt to fix or capture meaning. It is also a an act of resistance against the attempt by our system to bury and deny illness, old-age and death, which serves only to make us weak both culturally and spiritually, thereby rendering us as passive docile subjects.
Amongst my father´s book collection, I rediscovered a biography of Trinidad Huertas, “La Cuenca”, an early nineteenth-century dancer from Malaga who gained worldwide fame for a routine in which she performed as a female bullfighter, caught in the midst of the action, that earned her the epithet, “The Brave Woman”.
I have recuperated other references from my childhood such as the figure of Our Lady of Mount Carmel hoisted aloft in the procession by the sea on July 16 every year. As with so many other festivities belonging to the realm of the popular, it exudes a Pagan archaism that pre-dates Catholicism. The Church, however, has always exploited them to construct its own myths. I can still recall when a friend of my father’s took us at night to wait for the virgin to appear amidst the olive trees. I am interested in the experience of the miracle as construed by Pasolini or Ana Mendieta: the metaphysics of the flesh, a wanting manifestation of the spectacular, the unexpected witness.
Miracles are comprised of many things but, first and foremost, the need for them to take place. Their devotional character does not require too elaborate a formal structure. As my friend Rafael S.M. Paniagua says: “the efficiency of popular cultural forms is of another kind. The precision is of another kind. We can elaborate a belief on the basis of an abject image, a stain on the wall, a badly painted Christ. Popular devotion arranges itself around bad images.”
 
I confess that the process of creation has been a liberation. One can but hope that it will be for the audience as well.
Toná is born from the need to embody a broad identity, that does not strive to have its essence defined, linked organically to collective memory and popular imaginaries with all the conflicts that entails. A poetry that transmits flesh, the vital pulse, full of rage and joy, as well as of prejudices and superstitions. An ancestral and fertile pain that, from childhood onwards, gradually makes us what we are.
An identity as luminous as it is dark, which cannot be reduced to the metrics of productivity and consumption, a physical outpouring that refuses to be inscribed by the inertia of opinion and its euphoria, posing, protocol.
 A body reconciled with its vital forces, interwoven with illness, old age, death and that brazenly embroils itself with symbols so that they may be sullied, trod upon, renamed, whilst shouting: they are ours, they belong to us.
A body that doesn’t choose between believing and suspecting: faith and nihilism as brothers in arms, repeating to each other that loving is to have the keys to heaven and realise that heaven is empty.
“Shame is the feeling that shall save Humanity.” It won’t be love, but rather shame.
 A pain that is ancient and fertile: flesh, bodies. Identity is the mystery that hides in every body and emerges from the intimate reconciliation with shame.
 
 I look for dance in bodies, its folklore, its wound, not the virtuous dance of trained bodies, but dance— human dignity summoning us, daring to stamp the floor with the force of shame. The most beautiful anger, the most open wound.

DIRECTOR, DRAMATURGY, PERFORMER, & CHOREOGRAPHY

Luz Arcas

SCENIC AND CHOREOGRAPHY ASSISTANT

Abraham Gragera

DRAMATURGY ASSISTANT

Rafael SM Paniagua

MUSIC DIRECTION AND COMPOSITION

Luz Prado

ARTISTIC ASSISTANT

Nino Laisné

DANCE

Luz Arcas

VIOLIN & ELECTRONIC

Luz Prado

VOICE, CLAPS & PERCUSSION

Lola Dolores

CUSTOME DEIGN

Carmen 17

FLAG DESIGN

Isa Soto

MAESTRA DE BANDERA

Paula “La Albardonera”

SCENOGRAPHIC ASSISTANT

José Manuel Chávez

DISEÑO Y CONFECCIÓN DE LAZOS Y FLORES

Elena González-Aurioles

PHOTOGRAPHY AND VIDEO

Virginia Rota

SOUND DESIGN

Pablo Contreras

LIGHTING DESIGN

Jorge Colomer

EXECUTIVE PRODUCTION

Gabriel Blanco and Marta López (Spectare)

EXECUTIVE PRODUCTION COLLABORATION

Fernando Valero (Rial & Eshelman)

TOUR MANAGER

Andrea Méndez Criado (Spectare)

GRAPHIC DESIGN

María Peinado

COMMUNITY MANAGER

Carlos González

PRESS

Elvira Giménez and Ángela de la Torre  (Cultproject)

NATIONAL DISTRIBUTION

Lola Ortiz de Lanzagorta (New Dance Management)

INTERNATIONAL

Austial Rial Eshelman (Rial&Eshelman)

“la búsqueda de un nuevo lenguaje , capaz de amalgamar danza contemporánea y flamenco, la búsqueda virtuosa de una bailarina y coreógrafa que habla con cada fragmento de su cuerpo y que nos sorprende con los simbolismos sacados del mundo taurino y de las fiestas españolas”
 “de hecho se podría concebir un espectáculo sólo con el movimiento de los pies de Luz Arcas , que son el núcleo, el quid y la espina dorsal de su partitura física , de sus danzas atávicas, de su estar en escenario”
“Una hora de pura energía y catarsis en la que la artista baila la muerte incorporándola en una atmósfera folclórica”
“La coreógrafa -a veces con tintes preciosamente gamberros- llena de otro fervor el escenario. Una vuelta a su infancia hoy reinterpretada que llena de festividad y del propio espíritu del folclore. Ella habla de la muerte con respeto porque respeta el miedo antiguo, pero aquí Arcas la celebra. Está celebrando la muerte. Celebra el folclore de la muerte como celebra la vida, porque ella es la celebración de lo negro, de la muerte, del llanto, de la virgen. Ella es otra virgen. La campesina con sentido de comunidad. La mujer tribal. La niña fotogénica del pueblo indígena que deshoja nuestras máscaras de cemento y de alquitrán varado.

 

Con sombrero negro que me lleva a los verdiales y colores en el tinte negro de unos paños que engalanan, Luz se apropia del concepto de lo sacro y lo convierte en otra cosa que fusiona al ser humano y a Dios mezclando la cultura popular, los ritos y las creencias primitivas. Arcas, la santera de sangre, pelo y fuego se fusiona con la naturaleza primera, con la vivo y lo no vivo, adquiriendo multitud de formas en su evolución y partiendo de la fuerza de su cuerpo extenuado. Su cuerpo, que es su territorio, está lleno de respuestas”

Treno

La Phármaco Luz Arcas Contemporary Dance Company
Treno was born of a poetic image: the first rhythm comes from a first cry, from a first lament, from the first elegy. Treno is a meeting where what is invisible is celebrated, where we sing to the darkness. A modern recreation of an imaginary folklore: a pagan homage to the constantly savage order of things.

 

In Treno the body and the music are the respiration evoking the world’s rhythm in a ceremony that consecrates its own core, its own bonds.
La Phármaco Luz Arcas Contemporary Dance Company

DIRECTION AND DRAMATURGY

Luz Arcas and Abraham Gragera

CHOREOGRAPHY AND INTERPRETATION

Luz Arcas

SOPRANO SAXO

Mariano Peyrou

PERCUSSION

Xosé Saqués

PHOTOGRAPHY AND VIDEO

Javier Suárez

Chacona

La Phármaco Luz Arcas Compañía de Danza Contemporánea Chacona
La Phármaco Luz Arcas Compañía de Danza Contemporánea Chacona
In Chacona five bodies come together around the same melody. Five body-variations, like mechanical voices looking to find each other, constructing alliances in time’s common melody.

 

The chaconne is a baroque dance originating in Spain which spread throughout Europe in the XVI and XVII centuries. Many composers posed chaconnes in this time. Perhaps the most emblematic is J. S. Bach, that Sofia Gubaidulina paid tribute to in the XX century with her work Chaconne, which accompanies and gives the name to our piece.

DIRECTION AND CHOREOGRAPHY

Luz Arcas

DANCE

Elena González-Aurioles, Amanda Marinas, Nadia Vigueras, Esther Ramos Albiol, Nathalie Remadi.

MUSIC

Chaconne, Sofía Guibadulina

MUSIC INTERPRETATION

Carlos González

Abok

La Phármaco Luz Arcas Compañía de Danza Contemporánea Abok
In Malabo (the capital of Guinea Equatorial) there are neither official music schools nor dances ones. Nevertheless, dance is an essential part of the life of young people; the heart around which social relationships are articulated.

 

Knowledge is transmitted from one to another, and gathers elements that come from the tribal dances performed by each of the ethnic groups; knowledge learnt within the families, and merged with the enormous Afro-American influence that, brought by TV or Internet, permeates the whole of Guinea’s culture.

 

After two months’ work in the ‘Centro Cultural de España’ in Malabo, La Phármaco brings together three dancers in order to erode all of their influences and styles, so it just remains Abok, or ‘dance’ in the Fang language, the ethnicity to which the majority of the dancers belong.
La Phármaco Luz Arcas Compañía de Danza Contemporánea Abok
La Phármaco Luz Arcas Compañía de Danza Contemporánea Abok
In this rite, the physical expression of La Phármaco lives together with Equatorial Guinean tribal dances, the rhythms of African traditional drums and baroque western music pieces.
A rite where those who live remember, physically, those who are not here any longer; and yet they stay with us, dancing like a shadow through our bodies.

 

*Abok is dedicated in memory of Pedro Luis Nba Mitsunu, one of the dancers who used to be part of our cast, and who passed away, victim of a shipwreck, in August 2016.

DIRECTION AND DRAMATURGY

Luz Arcas and Abraham Gragera

CHOREOGRAPHY

Luz Arcas

DANCERS

Neftalí Castaño Gerona, Miguel Faustino Obiang Asumu, José Manuel Ondó Mangué

PIANO

Carlos González

VOICE

Laura Fernández Alcalde

LIGHTING

Jorge Colomer

PHOTOGRAPGY

Jorge Colomer and Enrique Escorza

COLLABORATE

CCEM, FIIAPP and AECID

EMBODYING WHAT WAS HIDDEN

La Phármaco Luz Arcas Contemporary Dance Company
La Phármaco Luz Arcas Contemporary Dance Company
La Phármaco Luz Arcas Contemporary Dance Company
Embodying what was hidden is a dance – manifest: the scenic body summons us to take part in a collective ceremony that re-updates the power of the dance as a backbone of the community, of the folklore, the holiday, stripped of any religious or political filiation, but with all his intact aptitude to show what is hidden, undefinable and tragic of human condition.
.

 

DIRECTION AND DRAMATURGY

Luz Arcas and Abraham Gragera

CHOREOGRAPHY AND INTERPRETATION

Luz Arcas

COMPOSITION AND MUSICAL INTERPRETATION

Carlos González

LIGHTING DESIGN

Jorge Colomer

CUSTOM DESIGN

Heridadegato

PHOTOGRAPGY

Virginia Rota

COLLABORATE

Centro de Danza Canal and Inaem

The Errancy

(A Mirror in which we see ourselves)

La Phármaco Luz Arcas Compañía de Danza Contemporánea La Errancia
The Errancy (A Mirror in which we see ourselves) is a short work which can be performed in conventional as well as unconventional spaces, performed by three dancers with live music played by a trio of percussion, voice, and violin.

 

The work brings together archetypes of our stories, fables and songs, like Niña Trampa, Tía Miseria, or Mariceniza, accompanied by original compositions also inspired by our folklore.
La Phármaco Luz Arcas Compañía de Danza Contemporánea La Errancia
La Phármaco Luz Arcas Compañía de Danza Contemporánea La Errancia
With this work we investigate concepts like the straying from ones path, the feminine figure in the oral tradition and in the amoral and savage story of humanity: folklore as resistance to the domesticfication of the civilized world. The counter history, one that is sung rather than written.

DIRECTION AND DRAMATURGY

Luz Arcas and Abraham Gragera

CHOREOGRAPHY

Luz Arcas

DANCE

Luz Arcas, Paula Montoya and Raquel Sánchez

COMPOSITION AND MUSICAL DIRECTION

Abraham Gragera and Carlos González

BRASS AND VOICE

Cristian Buades

PIANO AND PERCUSSION

Carlos González

VIOLIN

David Santacecilia

LIGHTING

Jorge Colomer

PHOTOGRAPHY AND VIDEO

Virginia Rota

CUSTOM DESIGN

Heridadegato

DISEÑO GRÁFICO

María Peinado

PRODUCTION

Centro Danza Canal, Junta de Andalucía and Inaem

The Voice of Never

Inspired in Waiting For Godot, by Samuel Beckett

La Phármaco Luz Arcas Contemporary Dance Company

La Phármaco does not intend to illustrate the text but rather to pose a dramaturgy/libretto where the body takes hold of the essence of Beckett’s work, transposing it to the language of dance: the failure of systems to represent what is real, the uprooting of archetypal characters, (without time, without space, without origin and future) who experience love as a fierce and grotesque instinct damning them to existence.
In other words: the tragic feeling of Western Man throughout history.

 

The Voice of Never confronts these concepts in order to dance a horribly comic contemporary tragedy, as the author himself described it.

 

The bodies are placed in the desert where the author’s universe leads until that desert becomes a dance. The universe is essentially verbal, or better yet, a consequence of what it is verbal.

 

The music, composed and performed live by a pianist, constitutes the sound space of this work. In this way conceiving of it in its corporal dimensions, taking precedence over the expressive and poetic ones. The accompanying score is Beethoven’s second movement sonata ‘Moonlight’ and the third movement of Shostakovich’s ‘Sonata for Viola and Piano’ compounding an original sound space based on the links that exist between these two works.

 

The project is supported by the Regional Government of Andalusia “Agencia Andaluza de Instituciones Culturales” and by “The Dance Center” of Teatros de Canal, Madrid.

 

Premiere at Feria de Teatro del Sur, Palma del Río, Córboba, July 2014

Interpretationn: Luz Arcas, Begoña Quiñones, Ignacio Jiménez and Juan Manuel Ramírez  Composition and  music interpretation: Carlos González  Choreography: Luz Arcas  Iluminación: Miguel Ángel Camacho  Custom Design: Tenkey and Ana Montes  Photography: Javier Suárez and Eva Viera  Video: Javier Suárez  Graphic design: María Peinado  Director and Dramaturgy: Luz Arcas and Abraham Gragera.

La Phármaco Luz Arcas Contemporary Dance Company
La Phármaco Luz Arcas Contemporary Dance Company
La Phármaco Luz Arcas Contemporary Dance Company
“Beyond the unrelenting beauty of the staging and the overwhelming technical skill, I can’t remember seeing a Beckett this pure, nor this necessary”

Exodus: First Day

Inspired by Oedipus at Colonus and Antigone by Sophocles

La Phármaco Luz Arcas Contemporary Dance Company

The work is structured into danced episodes and stasima (choral interventions), that tell the story of Oedipus and Antigone’s journey to the forest of Colonus, Oedipus’ death and Antigone’s return to the city of Tebas.

 

The dance is inspired by ancient Greek iconography, the music is original, performed on stage by a soprano, woodwinds and percussion, part of musical recreations from this era.

 

This work is supported by Centro de Danza Canal, and was nominated for the Premios Max and Premios del Teatro Andaluz (2014) or Best Dance Performance and best female dancer (Luz Arcas). It is part of the AECID catalogue (2015).

 

The world premiere of Exodus: First Day was September 2013 at the Roman Theater of Baelo Claudia (Bologna).

Dance: Luz Arcas, Regina Navarro and Ana Catalina Román  Interpretation and musical composition:  Laura Fernández, Voz, Corifeo Mariano Peyrou, brass and Xosé Saqués, percussion  Choreography: Luz Arcas  Lighting:  Jorge Colomer  Custom Design:  Rosa López  Fotography: Javier Suárez  Graphic design: María Peinado  Dramaturgy and Scenic Direction: Luz Arcas and Abraham Gragera

La Phármaco Luz Arcas Contemporary Dance Company
La Phármaco Luz Arcas Contemporary Dance Company
La Phármaco Luz Arcas Contemporary Dance Company
“It is a mature and elegant performance, with a very sober structure and a series of balanced elements(…) The piece is an intense poetic force(…) The theme of this performance is merely a pretext, a way of approaching the classics with a latent modernity: the ancients as a patrimonial burden, moral disaster as our main inheritance and perhaps guilt in the form of a suicidal shadow”
“ELuz Arcas’ solo with a staff is one of the most beautiful things that yours truly has seen on stage. The journey to the seed becomes fruitful. Becoming pregnant is a delight”

Thirst Erodes

La Phármaco Luz Arcas Contemporary Dance Company

A piece in three acts for dancer and soprano. A physical and poetic reflection based on the classical mythology of Kore (Persephone’s name as a girl, before being abducted by Hades, as also interpreted in Eros and Psyche’s soul’s condemnation to exile) and Eros Psicompo (who takes the souls to the underworld).

 

The concept of the choreography stems from intuition: when a body dances, all other bodies (past, present and future) dance with it. All of these anatomies keep a memory of the rest of the anatomies. The physical language of Time is contained within the body itself.

 

The project has received the support of Canal Dance Center (Madrid).

 

Thirst Erodes was premiered at the Instituto Cervantes in Casablanca, May 2012.

Interpretation and Choreography: Luz Arcas  Voice: Laura Fernández and Rosa Miranda  Lighting: Jorge Colomer  Fotography: Celia Mondéjar and Raúl Barrio  Graphic design: María Peinado  Dramaturgy  and Scenic Direction: Luz Arcas and Abraham Gragera

“With a sober and profound composition, Luz Arcas involves time and space in a synthesis lasting just long enough. The live music, an a cappella soprano, imbues the scenes with a sense of ritual, contributing a sense of distant elegance. Working on the concept of the solo in dance brings the dancer to a confrontation with an imaginary, enormous referential mirror”
“Luz Arcas offers up colossal physical dedication, awakening in the audience not only an admiration for her artistic honesty but also an elegiac feeling which imbues ones spirit in an unshakeable manner”

Before , it was Always Fire

La Phármaco Luz Arcas Contemporary Dance Company

Before , it was Always Fire  dances the need to construct ourselves within a world, to be an image and likeness, for us to understand precarious forms and attempt to keep them under control. It is the hour of the forge, the fire, the blow and the material, an encounter with submissiveness, the incarnation of feelings and directions.

 

Two bodies that, rather than dance, are danced. They become docile, anatomical mirrors awaiting a physical correspondence, withstanding the fleeting moments, sustained in fragility. Condemned, always, to be the seed, to be ever vigilante to the possibility of connecting, as if this were beauty’s last hope.

 

Before, it was Always Fire  was inspired by the myth of Prometheus as well as the writings of Heraclitus and Paracelsus. On stage the dance is accompanied by original scores by Henry Purcell, interpreted live by a soprano, viola da gamba and theorbo.

 

This work premiered at the Festival Escena Contemporánea (Madrid) in February of 2012.

Interpretation and Choreography: Luz Arcas and Koke Armero  Sound Space: Illo Muriel  Music Interpretation : Manuel Casas, theorbo, Rosa Miranda, voice  and Illo Muriel, viola da gamba Original Music: Henry Purcell  Lighting: Diego Domínguez and María Otero  Custom Design and Scenic Space : La Phármaco  Custom: Eva Arinero  Scenography: Israel Muñoz, Muneka Producciones and Koke Armero  Fotography: Raúl Barrio  Graphic design: María Peinado  Direction and Dramaturgy: Luz Arcas

La Phármaco Luz Arcas Contemporary Dance Company
La Phármaco Luz Arcas Contemporary Dance Company

The two-backed monster

La Phármaco Luz Arcas Compañía de Danza Contemporánea El Monstruo de las dos espalda

The two-backed monster eis inspired by Plato’s Symposium, specifically focusing on the myth of androgynous narrated by Aristophanes: We wish to bring desire to movement. To construct dance from desire and its sickness. Two bodies that surrender themselves unconditionally, until losing their form, until they become deformed into a two-backed monster. They inhabit the excesses of their new anatomy.

 

We want to dance the erosion of desire, over time subdue the monster, dancing the journey from physically coming together to falling apart, to stop amongst the fracture: each bodies return to its unique anatomy. Alone, each body dances its requiem. Wailing for its lost half.

 

The desperate act of loving what is far away.

 

This work premiered at the Pradillo Theatre (Madrid), in March 2010.

Interpretation and Choreography: Luz Arcas and Koke Armero  Sound Space: Illo Muriel  Lighting: Luis Enrique Soria  Design and Scenic Space: La Phármaco  Fotography: Gustavo Rebollo  Graphic design: María Peinado  Direction and Dramaturgy: Luz Arcas

La Phármaco Luz Arcas Compañía de Danza Contemporánea El Monstruo de las dos espaldas
La Phármaco Luz Arcas Compañía de Danza Contemporánea El Monstruo de las dos espaldas
La Phármaco Luz Arcas Compañía de Danza Contemporánea El Monstruo de las dos espaldas

Kaspar Hauser.

Europe’s Orphan

La Phármaco Luz Arcas Compañía de Danza Contemporánea Kaspar Hauser
On May 26th, 1828 a strange young man, who could barely stand up, appeared in a plaza in Nuremberg. He carried an anonymous letter which gave scarce, contradictory information regarding his background and leaving him in the hands of those who found him.

 

 

Kaspar Hauser was immediately taken in by the city and later the whole country as a sort of social, political, and philosophical experiment. After six weeks he could speak rather fluently, he could read and write. It be came clear, from the boy himself, that he had lived up until that point in a cell, he slept on a straw mat, he heard no sounds, but there was a wooden horse there that he could play with. The brought him food at night (bread and water, occasionally with an opioid dressing). He told how a few days after gaining his freedom “the man who always accompanied him” showed him how to write his name and to speak the sentences that he repeated when he was found ( “A cavalryman like my father, I want to be” and “horse, horse”). Until that moment he had never seen a human being before.

 

 

La Phármaco Luz Arcas Compañía de Danza Contemporánea Kaspar Hauser
La Phármaco Luz Arcas Compañía de Danza Contemporánea Kaspar Hauser
Doctors decreed that he was neither crazy nor mentally impaired beyond what he suffered from his confinement. His learning process was headed mainly by Anselm von Feuerbach who testified on the boys strange intelligence: a special sensitivity towards painting and horsemanship, passion for reading and music. Kaspar never determined who it was that he saw in the mirror’s reflection, he also never assimilated the idea of a monotheistic god, he was repelled by christian imagery and hated latin, he didn’t differentiate between real life and dreams, and attributed free will to all living beings.

 

 

Feuerbach suspected that Kaspar was the eldest son of one of the lines of the Baden family, who intended to get rid of him in a hidden struggle for sovereignty, and that his confinement was the only alternative to death. He was never able to prove where he really came from.

 

 

He died, murdered in strange circumstances on December 17th, 1833. His tombstone reads “Here lies Kaspar Hauser, enigma of his time. His birthdate unknown. His death a mystery”

DIRECTION AND DRAMATURGY

Luz Arcas y Abraham Gragera

CHOREOGRAPHY AND INTERPRETATION

Luz Arcas

COMPOSITION AND MUSIC INTERPETATION

Carlos González

LIGHTING

Jorge Colomer

FOTOGRAPHY AND VIDEO

Virginia Rota

GRAPHIC DESIGN

María Peinado

SCENOGRAPHY

Ana Montes

CUSTOME DESIGN

Heridadegato

PRODUCTION

Festival de Otoño a Primavera, Comunidad de Madrid y La Phármaco

La Phármaco Luz Arcas Compañía de Danza Contemporánea Kaspar Hauser
” Luz totally converts herself into Kaspar“Europe’s orphan”, starting from within and emanating outwards, through dance as only she knows how to. A work of extreme quality, of delicate plasticity and spot on performance, a performance that will leave no-one indifferent, placing her once more at the top of the pyramid of dance”
“In an astonishing embodiment of nuanced registers, at times violent and sharp at times full of a moving tenderness, Arcas tells the story of Kaspar Hauser offering her public a mirror to reflect upon themselves, with truly original accuracy. Something that is unable to be said, is created as Luz Arcas dances. Making us feel human, Us”

Bekristen / Christians

Chapter I. Domestication

La domesticacion La pharmaco 01
Neo-liberalism is a new form of colonisation: it imposes its agenda of customs and beliefs with a radical violence, and condemns the colonised body to a life oriented around its values: youth, success, asepsis, and non-locality. As with old-school colonialism, the last thing it seeks is the independence of the colonised body, its freedom, and as such it demands amnesia and rejects any notion of a different future.

 

Neoliberalism is the perfect fiction, an impeccable application of the Aristotelian concept of verisimilitude.
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Through domestication, various bodies compete to achieve the ideal that will rescue them from their own body: from hunger, death, fear, memory or illness. Bodies are convinced of the need to become “genuine” and allow themselves to be diluted by cosmopolitanism in exchange for suffering the most contemporary of tragedies: awareness of leading a day-to-day existence constructed through acts that are destroying the world.

 

Domestication is the first instalment of Bekristen/Christians, a trilogy that emerges from a project begun in Equatorial Guinea in 2016 that reflects on human need, social trauma and collective failure.

SCENIC DIRECTOR (ACT II), CHOREOGRAPHY DIRECTOR, DRAMATURGY AND TEXT

Luz Arcas

SCENIC DIRECTOR (ACT I), DRAMATURGY, SOUND SPACE AND TEXT

Abraham Gragera

DANCE

Luz Arcas, Marcos Matus Ramírez, Danielle Mesquita, Paula Montoya and Louis Mendy

VOLUNTEERS

Rocío Barriga, Elena Conde, Georgia Creppi, Daimi Delgado, Didier Doleon, Patxi Durán, Daniel España, Serena Gallo, Carlos González, Cristian O. Hazin, Ksenia Lazarieva, Marta Lorrio, Beatriz Mbula, Julia Nicolau, Tamara Osorio, Eduard Peña, Adrián Perea, Patricia de la Plaza, Adolfo Puntas, Rocío Tejada, Miguel Sepúlveda, Daiana Vegas y Rodrigo Villalva

VIOLIN, ELECTRONIC

Luz Prado

VOICE

David Azurza

SCENIC SPACE

Luz Arcas and Carmen Main

CUSTOM DESIGN

Gabriela Coll

LIGHTING AND TECHNICAL DIRECTION

Jorge Colomer

PHOTOGRAPHY AND VIDEO

Virginia Rota

ARTISTIC ASSISTANCE

Celso Giménez

GRAPHIC DESIGN

María Peinado

RECORDING, MIXING AND MUSIC MASTERING

Carlos González y Gabriel Castellano (Piccolo)

COPRODUCTION

Teatros del Canal and La Phármaco

WITH THE SUPORT OF

Centro Cultural de España en Malabo

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La domesticacion La pharmaco 16
“It is a resounding cultural clash woven to perfection”.
“The new project by the Pharmakos Dance Company is beautiful, as much from a dramaturgical as from a visual perspective. The commitment of the dancers is complete and their energy is transmitted from the beginning to the end of the show”.
“Bekristen puts forward a unique look at the world: that of a free body”.
“Against that domestication the show proposes a rebellion through dance, the finding of its own rhythm, with forms specific to dance above and beyond homogenization, with hybridity”.
“The show takes no prisoners. Perhaps because domination doesn’t either”.