“Did you know that Bruce Lee was a Cha Cha Cha champion?” This is how Junyi Sun describes his solo project, which came about as a result of his curiosity about the popular 1970s figure, regarded by many as a legend. Sun analyses the points of connection and parallels he has with the artist, from origins and professional careers to ideals and desires, bringing them to life in this personal show, halfway between dance and martial arts.
The Apartheid era in South Africa saw the creation of an energetic form of suburban dancing called pantsula. A new subculture quickly grew up around this dance with extremely vigorous footwork. In The Ecstatic, Jeremy Nedd and Impilo Mapantsula combine pantsula with the tradition of pentecostal masses, which are noted for their exuberant dancing and singing.
The power of Galician dancer and creator Janet Novás, and the vitality of Mercedes Peón's music come together to depict the intense sounds of Galician lands. Together, they explore the relationship between sound and movement, immersing the spectator in a ritual full of beauty and creativity. Instruments, memories, songs and dance evoke socio-political and biographical concepts, and even quantum experiences, which make Mercedes máis eu an exciting journey that will continually surprise you.
Catalina is the first piece from the Iniciativa Sexual Femenina [Female Sexual Initiative] group, whose show works on the sexual repression we experience in life in general and in dance in particular, and how we give and receive pleasure.
Autonomous puppets that respond to humans: this combination of contemporary dance and performing arts gives shape to a work created for exploring the relationship with the other, with otherness. The sculptures are the size of people and called oscils because of their capacity to oscillate with dancers.
RRR. It is through these three noisy and vibrant letters that the Teatre Lliure presents a show that turns the Gràcia stage into an intersection and correspondence between several creative worlds, each with its own coordinates: a mapless dialogue between La Veronal's dance — choreographed by Marcos Morau and danced by Jon López— and with CaboSanRoque's music and soundtrack — with the unexpected plots from Laia Torrents and Roger Aixut — and the pictorial images from Frederic Amat — which push the boundaries with on-stage action.
The central character of this work is a fictitious ballerina who was born old. This creature moves around the stage and trains to perform wonders she will never be able to do with a body that has always been old and tired. For all the adversities and contradictions, the old ballerina knows she has a distinct advantage over the other young creatures: her limits are part of her own essence.
