Graner

› Residencies

Presentació

Sonia Gómez (La Sénia, Tarragona): dancer, performer and choreographer. I studied Dance and Contemporary Choreography at the Institut del Teatre in Barcelona and at P.A.R.T.S Brussels. Since 2004 I have created my own shows. I have been awarded several prizes: FAD Prize 2007 Sebastià Gasch // Prize 2010 in the most Innovative Hall of the tour for “The Experiences with a stranger”. International Feria / Huesca // Prize Delfí Colomer 2017 Special Mention for “A Vore” // Prize 2018 Best Dance Show Prizes Butxaca for “A Vore”.

My performative strategies: I can go to that site, relate, let me know, make me understand, strengthen my position, let me out, jumping an obstacle, forcing the situation, overcome my own brand, distrust, notice the blush, try again, persevere, test, provoke, correct the path, seek balance, leave without being seen, come back, try again, close the eyes, err, succumb, falling, melt or float and retire early.

http://soniagomez.com/

The black body, the blue mind and the fluorescent guts.

The starting point is a line of people on the stage.

They are arranged in a premeditated order: from left to right, from dancer to performer.

Raquel Gualtero – Núria Guiu – Magí Serra – Quim Bigas – Pere Jou – Txalo Toloza

How the body in motion and its most salient differences have a conversation in a ballet-like stage piece?

HOW YOU DANCE

The black body, the first part of the title, is a code that will allow us to find forms -more or less harmonious, more or less beautiful, more or less performed.

HOW YOU THINK

The blue mind, second part of the title, is a question for the performers. What does the dancer think on the stage? What ideas come and go when the dancers move in silence? How could those thoughts be represented on the stage?

HOW YOU FEEL

The fluorescent guts, third part of the title, would be the shining paths of emotion, the way emotion converses with the body in motion, the extent to which emotions can be adjusted.

During the year 2019 Sònia Gómez looks for the bases of the artistic project from the documentation, the search, the writing and the choreographic method. Starting with conversations and interviews with dancers, performers and creators who are rehearsing at the Graner and elsewhere.

The idea is to have a collection of texts about what the interpreter thinks when it is on the scene.

From this archive of thoughts, sensations and points of view, Sònia Gómez, with the help of the collaborators, will draw up a system and a practical basis to investigate and develop with the stage team the central issues of the project:

– A Ballet as a concept and its staging and review of its resources. – A simple aesthetic, an online choreography as a starting point.

– The stroke in the movement from vistuosismo to the movement-hybridization idea with multiple physicalities, the relation with the texts and the view of the viewer.

– Individual, autobiographical, social and universal themes based on a dramaturgy. .

– The thoughts of the performers and the spectators finding a system of manipulation and balance between the inside and outside.

– The complicity within the team, the relationship with the public and the telepathic game between reality and fiction.