This is a delicate yet forthright piece, an intimate yet dark and disturbing show. In it, its creator, Daina Ashbee, explores the vulnerability and strength of women. Thus, the solo performer of the work goes through various states of mind—pain, hope and loneliness—expressed in introspective, cathartic dancing with precise and almost hypnotic movements. Her nakedness conveys a sense of fragility but above all of liberation.

Pour is an ode to the female body and its nature, a work that expresses a discreet denunciation of its position in the world.

The winner of three 2017 Max awards for the best dance show, cast and wardrobe design, Oskara is the happy conjunction of two choreographic universes and two visions of dance that could have proved hostile to each other—one looks back to the more popular roots of the discipline, while the other focuses on avant-garde trends—but which instead feed into each other.

The collaboration between the choreographer Antonio Ruz and the musician Pablo Martín Caminero has resulted in a captivating work in which Bach’s Cello Suites 1 and 2 are adapted for the double bass. With the dancing of Melania Olcina, the work proposes an inner and intimate space that the performers share: a void and a state of non-thinking, solitude in company, an ocean desert; a blank canvas on which the music, movement and light (or its absence) evoke fragility, depth and imbalance. The return to simplicity.

A statement by the philosopher and writer María Zambrano provides us with the key into the world of Sacra: “man/woman is the being who suffers his/her own transcendence”. This is because Sacra is a journey through life, human existence, that posits the need to transcend it if we are to vanquish oblivion and death.

Surrounded by time-worn, threadbare sequin dresses, fantasy shoes and other objects that point to a prosperous past, a woman of uncertain age opens her heart to us from an inhospitable spot under a bridge. Through confession after confession, the protagonist reveals herself to be a lost, emotionally weary and destitute woman struggling to survive by using the weapons of fiction.

MI-RU is a work of tremendous physicality based on the concept of homeostasis as a capacity for interaction between two or more systems. It observes the way that a particular body or social structure can co-exist and seek balances with other structures, or the way the inner environment of the human body can remain stable despite changes that occur in external conditions or due to sudden movements.

In this new group piece for six dancers, Thomas Hauert focuses on the notion of interpretation. By deconstructing cultural codes and layers, Inaudible offers a combination of intellectual art and popular culture and embraces both direct seduction and the deceptive expectations that make the choreographer’s language accessible yet unpredictable.

(sweet) (bitter) is a musical poem about impossible love that Thomas Hauert interprets as the expression of a conflict between the happiness that comes from pursuing an ideal and the torment of knowing that this ideal will always remain far out of reach.

Hauert has had a company of his own since 1998 and conducts sophisticated research into movement based on improvisation and the relationship with music.

Emio Greco and Pieter C. Scholten, directors del Ballet National de Marseille, have for the last two decades been researching what they call “the body in rebellion”, an intuitive body confronting the music in the space. The body as the central element of choreographic creation.

Our brain stores images and operates like a search engine; it searches for links in order to understand what is happening, links that launch a kind of mental YouTube. We use the term kopfkino for this ability to link images and construct mental films.