Sound creation lab

Juan Cristóbal Saavedra: Conceptualizing the sound universe of a piece

When we approach the creation of a stage piece, sound/music emerges as an element capable of playing both narrative and spatial roles: guiding, accompanying, and suggesting. In this session, we will explore the resources and tools available to share imaginaries, decipher sensations, and translate ideas effectively into sonic/musical language, in order to develop the ability to build from a shared language.

Juan Cristóbal Saavedra, also known as Equipo, is a Chilean composer and music producer based in Europe since 2001. His areas of artistic research focus on music, sound, and technology as drivers of sensory experiences. Using the plasticity of sound, he creates open narrative atmospheres that lead individuals and collectives toward multiple interpretations of reality. He has presented his work at festivals such as Mutek and Sónar, and has collaborated with artists including Roger Bernat, Azkona & Toloza, Marcos Morau, La Veronal, Sonia Gómez, Amaranta Velarde, and Jan Speckenbach. He has also composed music for productions by international companies such as Nederlands Dans Theater, Ballet de l’Opéra de Lyon, and the Spanish National Ballet. He is currently an artist in residence at Graner through a public call, in the category of stage research.

www.juancristobalsaavedra.com

Carlos Parra: From capture to space: strategies for live sound manipulation

When we talk about sound space, what exactly do we mean? It is often associated with speaker systems, playback devices, or live capture microphones. However, sound space goes beyond these technical elements. Sound design involves organizing and articulating these resources according to an intention, with the aim of generating a specific perceptual experience for both the artist and the audience. In this context, sound can be amplified, reproduced, or transformed; the original signal can be intervened in and related to movement, and placed within a three-dimensional environment that alters its perception. This session offers an introduction to practical, efficient, and transferable tools, applicable both in complex technical setups and in more reduced production contexts.

Carlos Parra (Barcelona, 1979) began by studying music production, combining studio work with live sound. After working in venues such as Tarantos and the Teatre Principal in Barcelona, he became involved—somewhat by chance—in the tour Gran Applause by the company MontdeDutor. This marked his entry into the live arts field, where he has worked with artists such as Cris Blanco, Janet Novás, Albert Quesada, Sonia Gómez, Glòria Ribera, Vivian Friedrich, Bàrbara Sánchez, Carmen Muñoz, the Hessisches Staatsballett, and La Venidera. His recent work has evolved toward live sound intervention.

Aurora Bauzà: Thinking the stage through sound. Tools for sound dramaturgy

This session proposes exploring sound as a material for stage composition and as a dramaturgical tool within creative processes. Tools will be offered to encourage critical reflection on sound and its integration into compositional and dramaturgical thinking. The aim is to understand sound not as a layer added at the end of the creative process, but as a compositional material that generates meaning, alters perception, and modulates emotion. Through practical exercises, the focus will be on how to make sonic decisions from the stage itself—that is, not thinking about music from music, but from the stage.

Aurora Bauzà (Mallorca, 1987) is a composer and stage creator who develops her practice through the company Aurora Bauzà & Pere Jou. Her work explores the human voice and sound as stage material, in relation to the body, movement, and light, developing an interdisciplinary language between music and performance. She was an Aerowaves 2024 artist and has toured extensively across Europe with works such as A BEGINNING (2023), awarded Best National Dance Production by the Critics’ Awards, I AM (T)HERE (2020), and FOSCA (2025). She is currently developing LOBO, a new stage project exploring the relationship between voice, otherness, and light, set to premiere at the Grec Festival 2026.