Tu nous entends la Honte ? Tu nous entends ?
Si tu nous entends fais gaffe quand tu rentres chez toi toute seule le soir
On pourrait avoir envie de te refaire la mâchoire avec des objets en métal
Ou de te laver la tête avec du plomb, qu’est-ce que t’en dis ?

Tu nous entends la Tristesse ? Tu nous entends ?
Si tu nous entends, c’est que toi aussi, tu vas bientôt faire ton sac
Prendre la première à gauche, deuxième à droite,
puis encore à gauche et aller niquer ta race.
(*)

FAUVE

I still find it odd that you should come in and watch a show from your seat. Is reality inside or outside? Shoot. Shoot your mouth. Shoot with your hands. Shoot into the heart.

Sorrow. Shoot. Rage. Tenderness. Shoot. Life. Music. Shoot. We may end up talking about ourselves and laughing loudly, perhaps without knowing why. We may bore holes in the walls for the pleasure of tasting our own sweat... on the street, things are getting ugly and in here... perhaps also. Music with which to season all this. Noise that doesn’t let us hear what’s said by the girl who looks at us while opening her mouth. You could record this live and watch it carefully from the safety of your homes. Perhaps it will touch you more if I’m not there.

Sentences I like that I’ve copied from various sources: I have a difficult relationship with reality. We’re in the middle of a Festival of Problems. Shooting is just a routine, a series of steps endlessly repeated. When the circuits of the brain are switched on, the circuits for violence are switched off. Letting off a firearm creates the same chemical reaction in the brain as a passionate kiss. To have a predisposition for hatred. Nature doesn’t help us, but culture hasn’t saved us either. Thinking positive to alleviate pain has the opposite effect. Love is a delusion that should never cease to exist.
Give us this day our daily sentences, O Lord.

BIO
Agnés Mateus (Barcelona 1967)
he studied journalism and theatre simultaneously until she entered the world of performance, some years ago now, alongside Txiqui Berraondo and Manuel Lillo in Barcelona. The first few years she trained in drama and dance. But there is one particular date that defines her career: 2006, when the Colectivo General Eléctrica was created. She was part of the creative nucleus of General Eléctrica until its dissolution eight years later. Performer and multidisciplinary artist, she has worked with Juan Navarro, Roger Bernat, Rodrigo García and Simona Levi, and continues to collaborate with them on various projects.

“Mateus is the staging of this essentiality. A rigour born of a sense of responsibility and a freedom that makes performance one of the many forms of expression she could imagine”
Juan Carlos Olivares

From: Oscar Cornago
Date: March 6 2014 14:19:17 GMT-03:00
Subject: bem vindo ao mundo (welcome to the world)
To: Juan Navarro

When we start to talk about what’s going on in the world and we mention politics, the economy or any one of those topics to which we’ve assigned a generic label so we all know what we mean, we end up understanding nothing, because in order to understand we need to be aware of the other things, such as fear and desire, that exist beyond those important-sounding labels. Fear can make a person commit all kinds of insanities. I once nearly killed myself jumping out of a hotel window because I was afraid of a fire, and I never even saw the flames. Fear can definitely lead to murder; much of the violence we try to explain away through good or not-so-good reasoning has to do with all this fear stuff. When people risk their lives trying to cross a border, knowing that many of them will die for sure, this only happens because of fear: fear of poverty, of want, of never achieving a minimum standard of living; everything else is just so much talk. All those debates on immigration, Europe, the economy and so on should start there: talking about fear and what people are capable of doing under given circumstances.

Paradise is a calm place is a Decalogue of staged speculations on fear.

BIO
Juan Navarro (1969)
Has an extensive career as performer, actor and stage director. Since 2000 he has been a regular collaborator of Rodrigo García and La Carnicería Teatro, with whom he continues to work. Over the past 25 years he has also worked with directors and companies known for their unconventional performance languages: Roger Bernat (BCN), Marta Galán (BCN), La Fura dels Baus (BCN), Anita Saij (Copenhagen), Einstürzende Neubauten (Berlín), and Sara Molina (Granada).
As a stage director, he has devised works such as Tala, an adaptation of the Thomas Bernhard novel with the same name, and other creative pieces including Fiestas Populares, Agrio Beso, Baby, Nancy Spungen, and Pequeño Preludio Inmortal among others.
He has also worked in film with directors Roger Gual, Santiago Zanou and Isabel Coixet. .

My idea is to show a fragment from the performance project Antes y después de Bailar (Before and After Dancing) in which the spectator ceases to be a spectator and becomes an activator (participant) in a shared experience through time using dance and photography.
For this occasion, however, the audience resumes its conventional role as witness, observing a body that expresses its thoughts while dancing.
Dance as an act of resistance, resisting time and weariness. We’re dancing it and being danced by it, dance myself, dance you, dance us, dance the street, dance the square, dance…Read more →

El coño de Isadora (y/o) permanencias del cuerpo (Isadora’s cunt and/or Bodily Permanencies) is an enaction of psychosomatic research, looking for possible artistic and creative emergences.
The basics of the game are: (genital) pleasure + weight + flow + form + tacit knowledge + states of conscience.
The idea is to encourage the emergence of the unconscious, the implicit, the iconic, the sexual, the intuitive, the representative etc. etc. by means of a specific and concentrated body practice.Read more →

In_Romería is a pilgrimage between independent creation and rehearsal spaces in the city run by artists that engage in different activities. The idea behind screening these videos is to show a new reality: the map has changed significantly. Espacio Practico (SEF-Christian Fernández Mirón), El Clima Mola (Bistü), La Piconera (La Viuda) and La Porta Casa (El Conde de Torrefiel). Video by Hugo Barbosa/hbprgms. Read more →

H A P P Y E N D I N G is a creation project that investigates and creates a visual reference for the idea of death and the dead body.
My interest in these two ideas and all the concepts associated to them comes from a personal experience during a Shiatsu massage. The therapist was continually manipulating my body. Read more →

The piece draws its inspiration from the future imagined by Houllebecq in his book Les particules elementaires in which a new human species, thanks to genetic manipulation, has managed to overcome suffering based on the ontological paradigms of gender and sex, individual and society, finitude and immortality. Read more →

IN_ Romeríaholds the idea that while we have physical places in which to work we have mental places in which to create, expose and meet. It also suggests the concept of the collective use of public space. On this occasion, IN_Romería was a musical/performance journey by Nilo Gallego, who took us from Espacio Práctico to La Poderosa, from the Ribera neighbourhood to the Raval. And, halfway through the journey, we stopped for a community meal on the Aurora basketball pitch.
With the collaboration of such heterogeneous artists as Mireia Tejero, Krishoo Monthieux, Pablo Rega, El conde de Torrefiel, Alba Pérez, Mar Medina, Laia Alsina, Jordi Centellas, Fran Blanes, Javier Vaquero, Jorge Dutor, Núria Andorrà, Gara Mora, Penélope Cañizares, Cristina Nuñez, Bea Fernández, Claudia Patricia Sañudo,...
La Romería 2012 was possible thanks to the voluntary collaboration of: Cristina Núñez, Penélope Cañizares, Javier Vaquero, Aimar Pérez Galí, Jorge Dutor, Oihana Altube, Mo Pasqual, Amaranta Velarde, Vanesa Medina, Carmelo Fernández, Carme Torrent, Hugo Barbosa, Carme Bonet, Natalia Sant,...Read more →

‘Danza real ya’ (Real dance now) is a project on and about dance. Using 4 iconic choreographies from the history of dance and from the creator’s personal history, the show aims to re-embody them and re-dance them as a symbolic and historic gesture of admiration and recognition, but also as an exercise in humorous criticism of the world of dance and its referents. Read more →

Poderosa presents: No estamos ARTAS VOL.II

The ARTAS collective (Artists Associated with La Poderosa) is a grouping of six performance artists, dancers and choreographers who devise, manage and create the content for La Poderosa, an independent venue for creation in the Raval neighbourhood that stands for and embodies the crossover and communication that exist between the various trends in live contemporary arts. ARTAS is therefore both container and content, not only of a physical space, but of a platform for reflection and artistic representation that constantly questions itself and reviews its relationship with its environment.

ARTAS has decided to use Antic Teatre’s invitation to present a selection of work ranging from pieces still undergoing the creation process, to fragments of existing projects, to reworks of old shows and even performances that ended up being a first step towards a different show.

Antic Teatre, by placing this event within the GREC 2014 Festival, wishes to emphasise the importance of artist collectives in the city as the motors behind the creation of places for discussion and reflection with regard to artistic practice.

PROGRAMME:

17th July:
-MONICA MUNTANER: ANTES Y DESPUES DE BAILAR (Fragment)
-OIHANA ALTUBE: EL COÑO DE ISADORA
-IN ROMERIA 1(Documentary video)

18th July:
-JAVIER VAQUERO: HAPPY ENDING
-AMARANTA VELARDE: HACIA UNA ESTÉTICA DE LA BUENA VOLUNTAD
-IN ROMERIA 2 (Video)

19th July:
-PERE FAURA: DANZA REAL YA!
-BEA FERNÁNDEZ: RESTOS DE MIS SERIES
-LOS QUE SE VEN ENTRE SI (Video)

Caravana de Tráilers (Trailer Caravan) is a performance trailer festival and competition.
A performance trailer is the condensation of an existing or in-progress work into less than five minutes.

For the event, up to ten trailers will be performed. The audience will select their favourite and the project represented will win the chance to perform the entire show as part of Antic Teatre’s regular programming.
Each of the trailers will be shown on two consecutive days; the winner will be announced at the end of each day.

BIO
GRUA (Research Group for Artistic Universes)
Is a creator collective that instigates contexts for the exhibition and exchange of artistic works. They transport, tow and support artists and their projects in order to construct new creative environments.

Caravana de Tráilers is their first action. The aim of this performance trailer gala is to create a space in which the standard practice of selling a piece based on only seeing a part of the whole is transformed into an exercise in creativity, with the public presentation of performance abstracts created expressly for the occasion.

Antic Teatre backs the idea that a cultural centre should have real and functional roots in the local community. Because of this, a community project involving the residents of the immediate neighbourhood, the 'barrio' of Sant Pere in Barcelona's Gothic quarter has been under development since the end of 2011.

The project consists in putting together a creative and artistic performance with the senior citizens who live near the Antic Teatre. The aim is to recover the memories of each and every one of these individuals with regard to this neighbourhood.

On the last day of GREC 2014 Festival de Barcelona programming at the Antic Teatre there will be the opportunity to see the show featuring women from our neighbourhood.
We will also premiere the documentary on the project presented by Otoxo Productions, a company specialising in social documentaries.