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Udruženje profesionalnihplesnih umjetnika Rijeke (Rijeka Association of Dance Professionals) and Antic Teatre present the second exchange in the cav_a cycle (Catalan & Balearic artists visting Croatian artists), which will take place in the city of Rijeka. The common interests and aims shared by both entities have led to this particular collaboration, which is envisaged as the first step in a longer term relationship to consist of joint projects, co-productions and artist residency exchanges.

UPUH-Ri is the association for dance professionals in the City of Rijeka, linked to the Croatian association for dance professionals.. Its aim is to promote and obtain better conditions for independent dancers and dance companies in Croatia and the Balkans.

HKD gives full support to the city’s independent performance arts scene, which, together with the scene in Zagreb, is among the most important in the country. Independent companies such as ‘Molekula’, ‘Prostor Plus’, ‘Filmaktiv’ and ‘Trafik’ are regularly featured at the centre.

In addition to this, Rijeka, which over its history has belonged to more than seven different countries, has a rich background of cultural and ethnic diversity that has made it particularly sensitive and receptive to contemporary artistic practices. At present, HKD is also prioritising the development of co-productions and exchanges with partners from other European and non-European countries.

20:00

“100 fuegos Horizontales”
(100 Horizontal Fires)

- New languages of the body -

(Without text)

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21:00

Discussion with the audience
Question and answer session between Carme Torrent and the audience.

PRICE: 25 kuna

Hrvatski kulturni dom na Susaku (HKD, Centre Cultural Croat)
Strossmayerova 1
Rijeka (Croatia)

The piece “100 fuegos horizontales” (100 Horizontal Fires) is part of a larger project, MOVING ON NOTHING, which she has been developing over the past three years and which has consisted of various different experiences, not all of them on stage. The project is concerned with the dynamics involved in the process of subjectifying, dynamics that are in a constant state of flux, and the creation of implements that allow the multiplicity of these processes to be experienced fully.
For the purpose she has enabled a space consisting of encounters and experimentation with movement involving people from a variety of backgrounds. This access to the potential of the body creates the possibility of contagion, of affecting and being affected by different intensities. "...no-one knows what bodies are capable of..."
100 Horizontal Fires is the result of this group experience.
"So the terrain is not something closed, but rather a moving vector which means there are constant movements of de-territorialisation and re-territorialisation. Or, even better, the terrain is a vector leading out of the terrain. The terrain is becoming; it allows itself to be invaded, or it invades; it becomes populated; it becomes deserted. Each body seeks to extend its territory through its becomings, through encounters with what nourishes it."

Carme Torrent
She is involved with the learning, research and creation processes surrounding the body in relation to its environment. Much of her experience comes from the realm of architecture.
In terms of performance, her work is the result of collaborations with Min Tanaka, Carmelo Salazar, Andres Corchero, Hisako Horikawa, Marina Garcés and Xavier Le Roy.
Over the past three years she has been working on the research and creation piece Moving On Nothing, from which she has developed three performances: Monarchic Bodies?, 100 Horizontal Fires and Deferred Construction (this last piece is also part of international project Miniatures, an itinerant show that aims to facilitate dissemination and dialogue between Mediterranean countries).

moversesobrenada.blogspot.com.es →

20:00

“Pajaritos Fritos”

- new dramaturgies -

(Performance in english)

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21:00

Discussion with the audience
Question and answer session between Mar Medina and Tirso Orive and the audience.

PREU: 25 kuna

Hrvatski kulturni dom na Susaku (HKD, Centre Cultural Croat)
Strossmayerova 1
Rijeka (Croatia)

-I only imagine plants.
- I imagine masturbations and rituals. Could you be more intellectual?
- It’s about a whore who wants a yo-yo.
- The yo-yo gets it on, the yo-yo is a whore.
- The yo-yo is a little bird; the not-self is the verdant peace.
- I get very rococo; I can see Fragonard’s swing with the whole gang.
- You´re like a little bird... I'll go with you, because I'm like a steam train too / like you / that prefers to emit smoke like this / filthy pollution but with a little glamour / children like it.

The boys play with a yo-yo and celebrate their first ejaculation by spraying the lush vegetation in the place, while the girls sway in the verdant tranquillity. Pajaritos is a piece that stops to look at the practices and rituals developed by humans in their earliest sexual manifestations such as chants, bed-wetting or transitional objects and spaces.

MARTIR
Consist of Mar Medinadóttir, born in Badalona and raised in Barcelona, and Tirso Tirsoson, born in Barcelona and raised in Badalona. We are not siblings (although we could be) nor do we live interconnected or parallel lives. We haven’t known each other for too long but we resemble each other a little and we know, among other things, that each of our mothers gave us a plate of fried ‘birdies’ (quail) every Friday night. Cooked and presented the same way: open down the middle and seasoned with garlic and parsley. We thought that perhaps it was a fad of the 70s but it may have been peculiarly ours; we’re not sure.

www.duocaphre.com/astro →

alexandertechnique-mar.blogspot.com.es →

duocaphre.bandcamp.com →

20:00

“Fingir”
(Faking)

- new dramaturgies -

(Performance in Spanish with
croatian subtitles)

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21:00

Discussion with the audience
Question and answer session between Lidia González and David Franch and the audience.

PREU: 25 kuna

Hrvatski kulturni dom na Susaku (HKD, Centre Cultural Croat)
Strossmayerova 1
Rijeka (Croatia)

Until around 20 years ago, lover’s kisses (kisses on the mouth) were always Faked on stage. There were three main stratagems to mask the fake kiss:
A/ The gentleman leans over the lady, slightly twists his head so that it hides the kiss from ‘respectable’ viewers and proceeds to kiss the actress on the chin or upper lip.
B/ The gentleman, carried away by desire, caresses the lady with both hands, one on each of her cheeks. Just before the kiss, the gentleman slides his thumb over the lady’s mouth and so kisses himself on the thumb.
C/ The gentleman bends his head and holds the lady’s head in both hands, kissing her between her cheekbone and her mouth, an area hidden by his hand.

Colectivo 96º
Created in 2008, the partnership comprises Lidia González Zoilo and David Franch. In 2008: Encontré un trozo de mí en un vertedero (I found a piece of myself in a rubbish dump) was coproduced with Centro Párraga, and shown for the first time at Es Baluard Museu d’Art Modern i Contemporani de Palma, Palma de Mallorca in June 2008. Después de mí, epitafios (After me, epitaphs) was a coproduction with Centro Párraga and Escena Poblenou. It was first performed at Centro Párraga, Murcia in October 2008. Dar patadas para no desaparecer (Kicking so as not to disappear) was a coproduction with Teatre Lliure, Centro Párraga and CAET TNT. First performed at the Terrassa Theatre Festival in April 2009. They are currently working on Fingir, which is being coproduced by Teatre Lliure, Antic Teatre, CAET TNT and Teatre L’Escorxador de Elche.

www.colectivo96.com →