Graner

› Residencies

Presentation

I’m a graduate in Physical Theatre at the Institut del Teatre in Barcelona. I have studied and worked in Spain, Germany and Argentina. I have worked as a performer for choreographers and directors (Retrospective, by Xavier Le Roy) but also develop my solo works as an independent creator: VIP, a homage to Severiano Naudin, won the Jury Prize of the 1ooЉ Berlin Festival in 2o12. Some other works are Una familia balla (2o15), Mos Maiorum (2o16), Kopfkino (2o16) and Gentry (2o18). I’m a member of two different companies: Mos Maiorum and Los Detectives. I combine my creative work with teaching.

https://lasdetectives.com/

Projects in residencie at Graner

The work that I will be carrying out at the Graner covers several areas: creation, research and education. From now until July 2019, I will be working on a scenic creation job with the Los Detectives dance and theatre company (María García Vera and Marina Colomina in collaboration with Amaranta Velarde). This is a stage piece that researches female bodies of women from the Early Middle Ages, and more specifically, medieval spirituality, with particular focus on in their visionary experiences. This piece is supported by the Grec Festival at the Antic Theatre, La Caldera, Festival SÂLMON < and Graner, and will be premiered at Grec 2019.

https://lasdetectives.com/

In addition to this, until June, I will be doing a workshop at Montjuïc Secondary School as part of the Graner educational programme neighbourhood youth scheme. Looking towards 2020, I am planning several production works: a documentary theatre piece with Mos Maiorum company (together with Ireneu Tranis and Alba Valldaura) and a solo piece for teenage audiences.

https://www.mosmaiorum.info/

 In the educational field, I aim to start a community creation project with young people from the Marina district.

 

"Pienso casa, digo silla" creation process

“Amaranta takes the hood. He puts it on. It makes some sound, like a consonant. It moves through space. Move arms The sound is becoming Latin. Go up the stairs where Maria was. Mariona on the wall just finished the mountain text. It hooks everything into the wall and then advances like a worm. Start blaspheming in a subtle way. Then walk on your knees as if in ecstasy. Maria climbs the stairs and hangs half body hanging on the other side, her ass in the air. Start cheating for a while. Then it balances by horizontally parallel to the ground. Then he hangs down and it seems that it hurts to fall towards the ground with all the weight on the ladder. Then he sits hooking the pubis to the stairs one leg on each side stretched. ”

Bibliography:

*pics by Anna Fàbrega

Pienso casa, digo silla is a continuation of our previous joint piece Kopfkino, where we took on the personae of female cinematic bodies to question the influence of fiction in the construction of our identities. This time we are focusing on the experiencies of visionary women of the Middle Ages, to examine what belief means in our secularised world.

What is a visionary experience and how can it be translated into the world today? In this era of dead images, what value can be placed on imagination?

Our work revolves around the potential that faith and complete devotion have to stimulate the minds of our audience. Prophetic visions, cathartic hypnoses, anachronistic dances, songs from beyond… We take a look at the past to recover something we seem to have lost in this posthumous time of the present.

“Pienso casa, digo silla” is a production of Antic Teatre with the support of the Grec 2019 Festival of Barcelona.

More info

"Aula Performativa" at Institut Montjuïc

Mariona Naudin has been in charge of the Performative Classroom of the second part of the course 18-19 with students from the IES Montjuïc.

“Everything begins with a rectangle drawn on the floor. La Mariona arrives on the first day, and without saying anything, she delimits the space with this rectangle while playing disorders scattered around the gym. Little by little they begin to realize: Mariona is a new face for them and them. They stop, observe and for some moments they silence, watch out and watch out, the novelty and silent action keeps them expectant. The silence breaks: the Mariona asks them to occupy the space inside the rectangle, and thus everything begins, so sessions begin where the space is the safety pillar of a reconstruction of the bodies. And here is where the Mariona affects and deepens, in each session she strives to find these bodies, activate themselves, become self-aware and lose their shame, approach each other and listen, live. The mass that walks inside the rectangle is now guided by a new parameter: when somebody stops the rest must stop, here is a listening effort between the group. Whoever watches silently from the outside sees how these bodies transform each day, they are recycled, they are more alive each day. The rectangle that delimits the space continues there from the first day but each time its limits are less accentuated, more diffuse. Does that mean we’re on the right track? Surely yes “