Friday february 17 |  20h |
Paranimf – Universitat Jaume I
| Avda. de Vicent Sos Banyat s/n | Castelló de la Plana |
|Entrada Gratuita, Aforo limitado |

Inés Boza_SenZa TemPo Presenta “Julieta Unplugged” un trabajo de investigación, una pieza corta, una primera aproximación a “El Público” de Lorca, y concretamente a la escena de Julieta y los caballos, que se enmarca dentro de la trilogía “Las Cicatrices Invisibles” actualmente en proceso de creación.

Outside

Photography

Alfred Mauve

Secretes doors

Project between Ines Boza_SenZa TemPo and La Caldera that joint different choreographic languages in public spaces and integrated within the various artistic proposals, unprofessional people. The pilot test was shown in 2011 in Gràcia (Barcelona) neighbourhood and is nowadays in develop process for other places / festivals (in situ).

Since my and Senza TemPo career, we have being realizing in parallel to our work in theatres and indoor, outdoor pieces taht are these experiences of contact with the  “wild” public (not domesticated) to see if we’re still alive. Since 1994, that we did our first outdoor show, “Capricho”.

This is a parallel line, almost in the shadow and even almost ¿discredited?. I have noticed that companies and creators who work contemporary performing arts from movement and dance in La Caldera, everyone has had some approachment experience to the audience and the theatrical language in public spaces (outdoor).

One of the goals of this project is to highlight this aspect of the performing arts for which there is never enough budget.

The aim is to highlight that door that is open from long time ago in the performing arts and dance. The door through which we let get out those unconventional stage languages to the street. The door through we come out from the “temples of knowledge” where languages and audiences are a little asleep, to offer to this alive audience in cities.

We are not talking about street theatre, in the conventional sense of the word, we don’t do parades, or work with big structures, we do not use fire, or stilts, and we don’t necessarily mix with people. These scenic languages claim the street as a poetical place where rigor and new trends are not at odds with everyday life, with the creation of parallel worlds, on the outside or specific and unusual spaces.

La Menina dels meus Olhos

FESTIVAL FIAR PALMELA & INÉS BOZA// SENZA TEMPO

Lola Matos , the director of the festival FIAR of Palmela proposes to Inés Boza_SenZaTemPo to collaborate in the creation of a show with the theater group as Avosinyas de Palmela. This group consits of women older than sixty years and is directed by Matos since 2002. The proposal was presented in the Festival of Valladolid in may and in Fiar Portugal In July of 2011

“I met Lola Matos in the production and presentation of A+, cosas que nunca te conté in the Festival Fiar, of Palmela, Portugal that she directs. And the theater group  As Avosinyas de Palmela in the presentation of one of their shows in the inauguration of the Festival.

They are a singular mix of professionalism and humanity. They achieve with the rigorous of their work and the truth of their love to what they do, what all the professionals of the scenic arts pursued like an exlusive essence: the presence of the life in scene.

“La Menina dels teus Olhos”  is a show about happiness. Eight ladies before a wedding and with the Lisbon earthquake like a rumor and symbol of fear ¿What is Happiness for these women of sixty, eighty years in a Portuguese village? ¿How is it expressed through their old bodies?

The proposal is to create a piece based on the theatrical of movement, in the dance that lives in the bodies, the gestures, in the voices and words. If you look at life with music in the ears, you see that dance is in the wind, in the game of speaking hands, in the legs that swing from a chair too high.” Inés Boza

Counts with  the music composition and stage presence of  2 young Portuguese musicians, Mute and Mary, who had already worked with SenZa TemPo in the creation of A+, cosas que nunca te conté and with Inés Boza in “at 29 º of Paradise”, the production “Viatges a la Felicitat” of the National Theatre of Catalonia. And in the video of El Palomar (Alfred Mauve and Karka Kracht) , SenZaTemPo regular contributors

Creation and Production

FIAR

Support

Compañía SenzaTempo; Câmara Municipal de Palmela; Junta de Freguesia de Palmela; Festival TAC Valladolid

Julieta Unplugged

Short piece of dance-theater. For indoor and small format.

Piece for two performers.

30 min. duration

Ines Boza_SenZa Tempo presents “Julieta Unplugged” a work in progress, a short piece, a first approach to “The Audience” of Lorca, and especially to the scene of Julia’s tomb, which is part of the triptych “The Invisible Scars” (PUT LINK tO invisible SCARS) currently in creation process.

Juliet unplugged is a game of stories, mixed up identities that search without finding … a glance in which the related related change, disguise, confuse us.

Juliet is us, our dreams, our questions. Juliet returns from the dead to be loved. But this world has the damn habit of changing every second. Imperceivablly, without even realizing, we are not the same, neither Julia, neither you, the audience.

Julieta Unplugged emerges and is inspired by the readings of Poet in New York and the audience of Lorca. An impossible text, a poetic text, surreal, dance, songs …, what to do with it?, Actually this is the language of Senza Tempo: poetic, impossible, surreal … dance theater.

Thanks to

Sergi Blanch, Alfonso Alcalá, Cristian Riedeberger.

with the institutional support of

Ministerio de Cultura – Instituto Nacional de las Artes Escéncias y de la Música, CONCA – Consell Nacional de la Cultura i les Arts, Ajuntament de Barcelona – Institut de Culltura, Institut Ramon Llull

with collaboration of

La Caldera

Press

“…Boza parte de fragmentos de El público de Lorca, para preguntarse sobre la condición femenina y el rol de la creación en nuestras vidas. Y para ello desenchufa el movimiento, lo desconecta de los tonos más altos, desnuda todos sus registros y, casi a pelo, presenta al público su pieza corta Julieta unplugged…”

“…Lorca afirma que Julieta, como todas estas mujeres que para (y por) liberarse deben morir, “es un mapa”. Y ciertamente guía: a Lorca en su reflexión sobre la homosexualidad, a Inés Boza en su exploración de la condición femenina libre y de los límites del arte como un terreno de acuerdo con el espectador, y a éste en su reconocimiento personal en las palabras y los gestos…” - Joaquim Noguero – Primer Acto

Anatomía de un Sueño (Anatomy of a Dream)

A dance-theatre piece with video conceived and directed by Inés Boza_Senza Tempo.

Indoor

Duration 55min.

A scenic director is attacked by a dream. When she recovers from these wounds, she dedicates herself to analyze the anatomy of dreams, with the secret goal that the next time one comes to attack her, she will know defense herself. The show originates in an investigation of dramaturgy and choreography in contemporary theatrical writing. It talks about the creative process and composition of a show, which combines dance, theater, images, music …. and looks for answers to questions like: Is it a show the result of a dream? Is it possible to dissect that dream? Is it possible offer to the public a show the intimate process of creating this show?

Interviews

Pascal Larderet, Toni Mira, Claire Ducreux, Montse Colomé, Alexis Eupierre, Sol Picó y Jordi Cardoner.

Thanks to

Toni Mira, Alicia Pérez Cabrero, Álvaro de la Peña, Ricardo Salas, Joel Cortés Gimeno, to the team of La Caldera and for providing the images of “La vida es…” to Carlus Camps Torner.

The report 001 counted with the subsiedies for research by CONCA.

Production of

Senza Tempo, coprouction of La Caldera. With collaboration of Le Lieu Noir de Sète (Francia) and Festival TAC de Valladolid.

download the dossier (PDF – 1,1 MB)

Press

Is it possible to display in a show the intimate process of creation of itself? This is the challenge that posed herself and solved Inés Boza in her latest award dance-theater show, using video and live music for it, which eviscerates the process of creation, from the first spark to their representation. There was no better start for the festival than “Anatomy of a Dream”, that will situate the viewer from now and forever, or so it seems, in front the dance. Cuarta Pared. Madrid. Septiembre 20011.

La Caldera

In 1995 a series of artists/choreographers joined forces to transform an old factory in the neighbourhood of Gracia, Barcelona into a platform for independent creation. Montse Colomé, Inés Boza, Alexis Eupierre, Lipi Hernández, Carles Mallol, Toni Mira, Maria Rovira, Álvaro de la Peña, Sol Picó and Carles Salas transformed the need for a work space into a collective project they called La Caldera.

Today, this centre answers to the dance sector’s different needs whilst fostering relations and exchange between artists from different generations and backgrounds.

La Caldera is a centre for production, creation, research and distribution. Contemporary writings of the body and ideas define the activities for 2010.

Webpage of La Caldera

El Palomar

The collaboration of El Palomar (Alfred Mauve and Karla Kracht) and Inés Boza/ SenZaTemPo started in 2006 with the production of “La Canción de Margarita” / Margarita’s Song and continued in 2008 with “A+, cosas que nunca te conté” / A+ things I never told,  2010 “Anatomía de un Sueño”/ Anatomy of a Dream. They collaborate in the triptych “Las cicatrices invisibles”/ The invisible Scars (2011-13).

They have co-created the projects “Out Side” (landscape dance and photography) and the video installation “hideouts_“, which is related to the creation of “A+, Cosas que nunca te conté”

Info

El Palomar, cultural association has been constituted in 2003 in order to organize multicultural artistic exchanges, interdisciplinary expositions, workshops and collaborations with other artists and cultural organizations from various disciplines.

In 2009 they present a preview of the video installation “hideouts_” in the industrial elevator of the Contemporary dance and Scenic Art Center LA CALDERA as part of the programme “Nodes de Gràcia”.

During 2009 and part of 2010 they work at the project “Anatomía de un sueño”.

In september 2010 the live video performance “Absinthe Drinker” by Alfred Mauve and Karla Kracht has beeen presented at the festival “Performance”, Paderborn, Germany.

 

hideouts_ – Video Installation

Background

The video installation “hideouts” is based on a collaboration between El Palomar (Alfred Mauve and Karla Kracht), for the dance theatre piece “A+ cosas que nunca te conté” by Inés Boza/ Senza Tempo.

A caravan as a symbol for those that leave, as a symbol for utopia, liberty and transit. Of this no man’s land between expulsion of ones’ origins and a uncertain future. A caravan as projection screen that submerges us in different levels of reality.

The sources of the work of hideouts_ are materials and ideas of A+, that haven’t been used in the final piece and the planning for the future project „Anatomía de un sueño“ (… which had its’ première in may 2010, TAC Valladolid). It is a remix of existent material, stage production material interwoven with personal investigation.

A first preview of hideouts_ was presented at Nodes de Gracia 2009 in an industrial elevator. The elevator as an “architectonical hideout”, a hideout for our collective memory…

The Work

hideouts_  installation for three synchronised monitors. There is no storyteller but there are hidden stories, about freedom, time and transit. Hideouts_refers to symbols. A no man’s land

As the title indicates the film is a hideout of our collective memory, without referring exclusivly to the past. It gave us the sensation to assist a continiously process of suggestions which are directed to the spectators concience. A dense interwaeving of images and emotions. Fragments. cutt offs from television, VCR, and S-8 -archieves. found-footage from social networks.

A revolution on a small scale that doesn’t remain in the pictorial exploration of the grain or pixel. It looks at the same time for a narrative renovation.

We all have a prehistory, a personal history and a common history. A story at least. hideouts_ is referring to them, who do not accept reality as it is represented and constructed. It’s about uncovering connections. Connections between the found footage and our interior images. Connections between youth and and age, between the actor and the writer of a play. Connexión between “nowhere” and “now & here”, memories and initiative.

Hideouts_ could be what Françios Truffaut called “le cinéma de la chambre du fond”…

Credits

Idea & realisation

Alfred Mauve, Karla Kracht

The Book of the Water Triology

Julieta Unplugged – Video

 

More info about the show (in Spanish)

La Virreina Ciega – Making off

More info about the show

Julieta Unplugged – Photos of the Show

WHERE

UNIVERSIDAD DE SEVILLA
AUDITORIO CICUS
C/MADRE DE DIOS NÚM 1 SEVILLA 41004

DATE

25 AND 26 JANUARY 2012

TIME

20H

MORE INFO ABOUT THE SHOW

Julieta Unplugged – Making of

Photography

Alfred Mauve

WHERE:

Centro de estudios Lorquianos en Fuente Vaqueros
Patronato Garcia Lorca
Granada

DATE:

24 & 25 de November 2011

TIME:

20.30H

MORE INFO ABOUT THE SHOW

WHERE:

La Caldera
c/Torrent d’en Vidalet nº43
Barcelona
(Metro L3 Fontana o L4 Joanic)

DATE:

18 and 19 de November 2011

TIME:

20.30H

MORE INFO ABOUT THE SHOW

Virreina Ciega – Photos of the show

Photography

Alfred Mauve

WHERE:

Fira de Tàrrega 201
Espai Sant Josep

DATE:

9th of September

TIME:

18,30h & 23h
MORE INFO ABOUT THE SHOW

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A Menina dos meus Olhos – Photos of the Show

Photography

Alfred Mauve

More info about the Show (Spanish)

A Menina dos meus Olhos
Production of Fiar | Palmela (Portugal) with Inés BoZa (SenZaTemPo)

WHERE:

Festival Tac de Valladolid
Chapel

DATE:

27 & 28 May 2011

TIME:

23.30h
MORE INFO ABOUT THE SHOW

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Anatomía de un Sueño – Video

Anatomy of a Dream

Anatomía de un Sueño – Photos of the show

Anatomy of a Dream

Photography

Alfred Mauve

More info about the show

A+, lo que nunca te conté

 

“A+, Cosas que nunca te conté” (A+, things I never told) combines dance, theatre, circus and video, to portray nomadism of the 21st century.

A caravan as symbol of the one who leaves, as symbol of utopia, liberty and transit, of this “no man´s land” between the expulsion of your origins and an uncertain future. A carvan as projection screen to submerge in different levels of reality.

Special thanks to

Pere Borrell, Mercedes Recacha, Nele Decoene, Ignasi Gil, Olga Alvarez Piña, Gemma Canal.

Coproduction

Coproduction of Senza Tempo & InSitu / Atelier 231, Lieux Publics & Festival Tac.

Collaboration with La Vela /Ayuntamiento de Vilanova i la Geltrú and Festival Fiar/Portugal.

“A+, Cosas que nunca te conté » is a performance IN SITU.

IN SITU, European network for the creation in public space.
This project has been funded with the support of the European Commission (Culture 2000 Programme).

Senza Tempo receives subsidies from EADC/Generalitat de Catalunya, Icub/Ayuntamiento de Barcelona, Inaem/Ministerio de Cultura, Institut Ramón Llull.

Senza Tempo is funder of ACDAC, La Caldera, Centro de Creación de artes escénicas contemporáneas y danza.

 

Dossier

download the dossier  (PDF – 2,4 MB)

This november, Inés Boza proposes a DanceTheatre Workshop at Caldera, which will be continued in 2009. We’ll keep you updated.

A+, Cosas que nunca te conté – Photo

Photography

Alfred Mauve

More info about the show

A+, Cosas que nunca te conté – Video

A+, things I never told

More info about the show

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L’home, la Dona i l’altre Dona.

(The man, the woman and the other woman)

This production is the next step of the work in progress what started with “Peixos” (2002) and “L’home que no tocava de peus

a terra” (2005). “L’home, la Dona i l’altre Dona” will be performed by 2 women and a man: Mercedes Recacha, Viviane

de Moraes and Carles Mallol.

 

Premiere at Festival Temporada Alta in Girona, Spain. 19 october

2007.

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L’home, la dona i l’altre dona

Dance-Theatre piece for indoors.

Piece for 2 women and 1 man.

55’ of duration

The man, the woman and the other woman

Result of the collaboration between Carles Mallol, Viviane de Moraes and Mercè Recacha (3 creators and dancers that have a long history with Senza Tempo) based on a suggestion by Carles Mallol. In this forest where the three characters meet themselves with a goal of thinking and discovering from the loneliness and the knowledge of the other, some faces hidden in relationships between men and women.

Thanks to

L’home, la dona i l’altra dona es una coproducción de Senza Tempo, el Mercat de les Flors, el Festival Temporada Alta 2007, INAEM – Ministerio de Cultura y Educación y Departament de Cultura i Mitjans de Comunicació de la Generalitat de Catalunya

Coproduction of

festival Temporada Alta 07 (Girona) & Mercat de les Flors (Barcelona)

in agreement with

ICAC-Generalitat de Catalunya

Supported by

ICUB-Ajuntament de Barcelona, INAEM-Ministerio de Cultura y Educación Recibe ayudas para gira del Institut Ramón Llull

Compay is associate of La Caldera, Centre of Dance and Scenic Art creation.

Year of Production

2007

Senza Tempo will work on ”Viatges a la felicitat I” (voyage to hapiness), a project directed by Sol Picó.

Six coreographers will make a creation based on the book “El viatge a la felicitat”, from Eduard Punset.

(Inés Boza, Jordi Cortés, Juan Cruz, Thomas Noone, Sol Picó and others to be confirmed).

April 26 th – May 20 th of 2007

At Teatre Nacional de Catalunya, season 2006-2007.

Sala Tallers.

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First of all I must mention La Canción de Margarita. A mention and a devotion since this show by Senza Tempo is delicious and full of scenic life. This Catalonian company, directed by Inés Boza, again strolls along the edge of theatre and dance, and does it very well. They know how to create emotions, disconcerting and illuminating surprises, and above all, they do what is most difficult, take care and wrap up the global rhythm, foresee when a change is needed, disconcert.

In this case, beautiful visual art predominates, thanks to both the spatial composition of the performers and the background images. Few times have I seen an iconography as appropriate to what is happening on stage. What takes place is a tribute to women.

eValencia.org

Pain with a female name. – Magarita’s Song

Play: «La canción de Margarita». Art Direction: Inés Boza. Performers: Sarah Anglada, Alba Barral, Anna Briansó, Viviane de Moraes, Nello Nebot, Mercedes Recacha. Sala Ambigú. Valladolid.

It is not the first time that the Catalonian company Senza Tempo has reached triumph in Valladolid. Their multidisciplinary proposals, a combination of theatre and dance, performers that manage to transmit emotions and feelings through movement, the scenic display given by audiovisual projections and the prominence of music, charm the audience.

The show is beautiful thanks to the exhibition of force, irony and sensibility of the performers’, understanding between them, move and communicate, both individually and as a group, feelings and emotions.

JULIA AMEZÚA (ABC, 5 de febrero 2007)

L’HOME LA DONA I L’ALTRA DONA – Video

More info about the show

L’home, la dona i l’altre dona – Photos of the Show

The man, the woman and the other woman

Photography

Ros Ribas

Illustration

Nat Sensevy

More info about the show

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Inés Boza creates a New production for Afabrica in Faro, Portugal.

The piece will be performed by 6 actors from the  Afabrica company.

The work will start end of september -

Premiere 3rd and 4th of November 2006 in the Theatre of Faro.

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La Caldera. Centre for contemporean dance and scenic creations in Barcelona has been awarded with Los premios nacionales de cultura 2006/ the national award for culture from the Generalitat de Catalunya.

La canción de Margarita

Pieza de teatro-danza para interior.

Pieza para seis intérpretes.

Aprox. 1h de duración

Pieza estrenada el 20 de julio en la sala MAC del Mercat de les Flors dentro del Festival d’ Estiu de Barcelona (Grec 2006).

A las mujeres de final del siglo XX, de este país nuestro casi imaginario, se nos dio la llave de la libertad. A cambio, se nos negó la llave de la memoria, la que abre la puerta de la continuidad entre generaciones.

Esta, nuestra (supuesta) libertad se construyó sobre el silencio de nuestras abuelas y de nuestras madres, sobre el olvido, sobre el desconocimiento.

La Canción de Margarita es un puente, uno de los posibles puentes de la memoria, construido desde la curiosidad y la imaginación. Hay algo mágico y brutal en el silencio.

De sueños, de amor y de dolor está hecha la vida, también la de las mujeres que nos criaron y callaron. Sus voces dormidas aparecen un día en un sueño, en una foto, en una canción que vuelve insistente y reveladora, en una pregunta sin respuesta, en una historia desvelada.

Son los ecos del silencio, las historias que no recoge la historia oficial, las historias que nos robaron.

Inés Boza

La canción de Margarita es un ejercicio de equilibrismo sobre la memoria, elaborado con el lenguaje contemporáneo del teatro danza. Tiene por centro a la mujer y, más concretamente, a la mujer en la historia de un país – el nuestro, de definición imposible- del que, por cómo siguen doliendo las heridas de un tiempo que a veces nos parece lejano, casi podríamos decir que sigue en guerra.

No hemos ido a buscar la guerra. La guerra emerge de la memoria como una cesura terrible que hace que todo quede sumergido en la cautela de un silencio expectante. Ese silencio largo -que duró décadas- es lo que conocimos, los que nacimos en él, como posguerra. Larguísima posguerra que vino a acabar, por fin, un día de 1975. Desde entonces no hacemos otra cosa que tratar de reconstruir el silencio con las historias perdidas, negadas, falsificadas… la mayor parte de las veces por temor, o dolor, o vergüenza.

La canción de Margarita es un homenaje a las mujeres de aquellas décadas. Está la Margarita de Fausto, que une aquí su fragilidad a la convicción de Antígona. Su locura es la locura de la Winnie de Días felices, de Beckett. Su desesperación es la dignidad de Madame Lisianne, de Genet-Fassbinder. La de la Tía Tula, de Unamuno. A veces, la imaginería se aproxima al surrealismo lorquiano en la figura de la niña muerta. El hombre es apenas una ausencia poética.

Pero, sobre todo, de lo que se nutre La canción de Margarita es de nuestros recuerdos: los nuestros, pero también los del espectador.

Pablo Ley

Agradecimientos a

Montse Colomé, Gerardo Conesa, Beatriu Daniel, Mª José Gz-Boza, Kerube, Jordi Recio, Angela Monleón, Pere Pinyol, Mercería Margarita, Lipi Hernández, Simona Quartucci

Coproducción de

Senza Tempo y Festival Grec-06

Compañía en convenio con

ICAC – Departament de Cultura de la Generalitat de Catalunya. Recibe subvenciones de ICUB-Ajuntament de Barcelona, INAEM-Ministerio de Educación y Cultura y del Institut Ramon Llull.

descarga el dossier (PDF – 1,1 MB)

24-28 de julio 2006

Inés Boza directs the workshop “una mirada desde el teatro danza/ a look from the theatre dance” during the XIV international summer workshops “aforo 2006″ organized by la Cuarta Pared, Madrid.

Senza Tempo is present at the first International Arts Fair “Performance” in Paderborn, Germany

The new production of 2006, directed by Inés Boza will have its premiere at the Festival d’Estiu de Barcelona (Grec)in the sala MAC of the Mercat de les Flors theatre in Barcelona.

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Margarita’s Song

Photography

Ros Ribas
Alfred Mauve

La canción de Margarita – Video

Margaritas Song

More info about the show

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The man who didn’t touch the earth with his feet. A solo of Carles Mallol has been premiered the 17th of november 2005 in the theater l’Espai of Barcelona.

THE EYES OF THE BRIGDE – LA TRAVESÍA,

Choreographed by Inés Boza, Senza Tempo (Spain/Catalonia)

Right at the birthplace of the industrial revolution, stand the bridges of Castlefield at the junction of the first canals. What have they seen, what have they witnessed during all these long years? “Any place has a history, lots of histories to count”…and La Travesia (The Cross Roads) adds a new chapter.

Inés Boza is the Director of Senza Tempo, Spain’s leading exponents of open air dance, who have been frequent visitors to Manchester, premiering two of their previous works here in Castlefield. She has been commissioned by Urban moves to work with six British dancers to create a new site specific work for the festival.

Performance time approx 1/2 hr

Premiere

17 july 2005 at Urban Moves, Manchester

Urban Moves Festival

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Professional Training & Performance
Inés Boza has been working on a project with DIGM (Dance Initiative Greater Manchester) creating the new production named Travesía, for 6 dancers premiered during Urban Moves.
The piece has been performed the 17th of July.

Diary of a project – El Jardí Inexistent

A diary of the creation process of the piece El Jardí Inexistent (the non-existing garden). From the first ideas to the premiere.

see the diary online

El Bosque de Marcela

“If you don’t mind where you are you don’t feel lost”

outdoor dance-theatre piece

For 3 men and 2 women

Duration 25’

The essence of the theatre dance piece El bosque de Marcela is a game. With the same structure as „snakes and ladders“,a childrens game that hides a universal symbolism, we build our own labyrinth where action is the option.

Four characters enter into the garden of fate, four players who will rebel against them host.

Supported by

ICUB-Ajuntament de Barcelona, INAEM-Ministerio de Educación, Cultura y Deporte y el Departament de Cultura de la Generalitat de Catalunya

download dossier (PDF – 128 kB)

El bosque de Marcela – Photos

Marcela’s forest

Photography

Jaume LLobet, Alfred Mauve

More info about the show

El jardí inexistent – Photos of the Show

The non-existent garden

Photography

T. Miró, Alfred Mauve

More info about the show

El Bosque de Marcela – Video

Marcela’s forest

More info about the show

El Jardí Inexistent

Piece of theater-dance for indoors.

Piece for three women an three men.

duration 65’

“la fantasía es un lugar en el que llueve.”

Italo Calvino 

The non-existent garden

We know that a good garden, a garden with a soul, hides a secret arrangement. The garden as an arrangement does no longer exist the very moment one wanders into its density. Its mysterious structure disappears only to turn into a possible path drawn amongst the scrub. The invisible architecture of a show is the one that takes us through our personal imagery.

The garden is oneself, your fantasies, your fears, your desires. The garden is life, relationship with others. The garden is a show.

From this duality in which we live between fantasy and reality, between night and day, between desire and reason, between my world and the others, we start to concieve this garden whish would have the invisible disorder of nature, of human nature.

And through this trip we encounter “a midsummer’s night dream” which has lent us its relationships between the characters. And as they walk into the woods, the wild garden, a spell complicates all of these stories of love, sex and mislove. But is a spell needed for a fairy queen to fall in love with a donkey or to fall for someone from just one glance?

“The non-existent garden” is a show weaved in overlapped levels, like a tale within a tale, a story embracing other stories. Theatre inside theatre. A framework constructed with a combination of languages and personalities of different origin. A complex distillation of simple and poetic associations, combined with intimate daily routines turned into dance.

Have a look at the creation journal

Year of production

2004

Thanks to

Caníbal, Toni Mira, Ulrike Mönnig.

Coproduction of

Senza Tempo y Teatre Nacional de Catalunya de Barcelona.
4º Premio de Proyectos d’Arts Escèniques de Lleida 2003,convocado por l’ Ajuntament de Lleida.

Senza Tempo is supported by

ICUB-Ajuntament de Barcelona, INAEM-Ministerio de Educación, Cultura y el Departament de Cultura de la Generalitat de Catalunya.

Press

Lived Dream Shakespeare’s work gives the whole, despite the liberties taken in the details, a dramatic frame of enormous internal cohesion… The Non-existent Garden is a piece rich and diverse in details, overwhelming, suggestive in its development and of a high finale. A lived dream..
- La Vanguardia 06.05.04 – Joaquim Noguero

The garden of dreams

An attractive show in which the movements of the characters have, for a start, a reason to be, something to give thanks for… The Shakespearean comedy is, with no doubt, a solid base for this very agile and entertaining staging about human duality, but it is not necessary to know the work of the bard to understand what Senza Tempo wants to tell us.
-El País 07.05.04 – Begoña Barrena

A walk through dreams and reality

… But it is in the theatrical section where Senza Tempo prints its hallmark with their poetic way of showing content… All this becomes a success thanks to performers who give with their differences, physical and interpretative, one of the best assets of the show… Actors and dancers in which Pablo Ley has known how to carve a good dramatic job.
-El Periódico 08.05.04

The imagination of the truth Senza Tempo delights us with a show as realistic as a fable can be… The scenes pass by as pictures from a baroque altarpiece of surreal plasticity and the performers play their part to perfection, … From a good seventy five minute show to the pleasure of dance forever.- Avui 08.05.04 – Bàrbara Raubert Nonell

Language in movement The Senza Tempo company fascinates with its latest show” The non-existent garden” in the TNC… The group uses rare scenic appearances, in a combination of the surreal with everyday life. And what is more important: it does not give up on telling stories…-El Periódico/Suplemento Viernes-07.05.04-Guillem Clua

The imagination of the truth

Senza Tempo delights us with a show as realistic as a fable can be… The scenes pass by as pictures from a baroque altarpiece of surreal plasticity and the performers play their part to perfection, … From a good seventy five minute show to the pleasure of dance forever.
Bàrbara Raubert Nonell - Avui 08.05.04

A walk through dreams and reality

… But it is in the theatrical section where Senza Tempo prints its hallmark with their poetic way of showing content… All this becomes a success thanks to performers who give with their differences, physical and interpretative, one of the best assets of the show… Actors and dancers in which Pablo Ley has known how to carve a good dramatic job.
El Periódico 08.05.04

Language in movement

The Senza Tempo company fascinates with its latest show” The non-existent garden” in the TNC… The group uses rare scenic appearances, in a combination of the surreal with everyday life. And what is more important: it does not give up on telling stories…
Guillem Clua – El Periódico/Suplemento Cultural Viernes-07.05.04

The garden of dreams

An attractive show in which the movements of the characters have, for a start, a reason to be, something to give thanks for… The Shakespearean comedy is, with no doubt, a solid base for this very agile and entertaining staging about human duality, but it is not necessary to know the work of the bard to understand what Senza Tempo wants to tell us.
Begoña Barrena – El País 07.05.04

Lived Dream

Shakespeare’s work gives the whole, despite the liberties taken in the details, a dramatic frame of enormous internal cohesion… The Non-existent Garden is a piece rich and diverse in details, overwhelming, suggestive in its development and of a high finale. A lived dream.
 Joaquim Noguero -La Vanguardia 06.05.04

Peixos a les Butxaques

Piece of theater-dance for indoors
Piece for three women an one man
Duration 55’

Peixos a les Butxaques (Fish in pockets) is a show that, like a dream or a story book is formed by three short plays. Three stories wich link together to remind us that our childhood dreams are the essence of what we are.

Throughout the threes stories legends, erotic symbols, dreams and rituals slide across, travelling like fish in our collective and individual imagination.

De tul a tul” (“from tul to tul”) is the story of the woman that had tree dreams and in them discovered that the journey trough life took her from one white tulle dress to another. Venid the purity of white she could see the colours of sex, gambling and the unknown.

Cien Años” (“One hundred years”) is a play conceived for a man sleeping, a singer and two ballet dancers. It’s all about the deep and tímeles sep of legends and red apples.

El día en que…” (“The day in wich…”) is the dream of a man that does not dare wake up or the story of he who dreamt he was asleep.

Thanks to

Teatre Cirvianum de Torelló, Montse Colomé, Lipi Hernández y Rosario Pardo

Coproduction of

Senza Tempo and Mercat de les Flors de Barcelona.

Funding

Senza Tempo recibe subvención del ICUB-Ajuntament de Barcelona, INAEM-Ministerio de Educación, Cultura y Deporte y el Departament de Cultura de la Generalitat de Catalunya.

Press

“As all of Senza Tempo’s work, Peixos a les butxaques shows an extraordinary performance…”

“ The solo played by Carles Mallol is truly splendid.”

El País, Sunday 7 de april 2002

 

“Senza Tempo’s work is poetry with highlights that always withhold a second thought”

“…the best of “Peixos a les Butxaques” is this growing progress, its bet for vitality which is namely their characteristic”

“The grove where Senza Tempo find their rotos is its facility to seduce with powerful and auggestive images”

La Vanguardia, Sunday, 7 April 2002

 

“A show which stimulates imagination, paints a smile on your face and stimulates memories”

“The conjugation of these coreographies has propitiated a play which gathers the best of Senza Tempo.”

El Periódico, Tuesday 9 April 2002

Frena mi amor!

“A good space is one where many different energies converge and wich defines classification”.

Peter Brook

Open air dance-theatre show specially created for urban spaces.

Two men, two women and a car perform on a road with one end blocked off (temporarily or permanently) with the audience on either side.

Duration 25′

“Frena, mi amor” is absurd, grotesque, surreal, ironic, witty and accessible. A car containing four elegantly dressed passangers, screeches to a halt in a dead end street. They are lost…they took a wrong turning and their map, like life itself, doesn’t carry instructions!.

“Frena, mi amor” last 25 minutes and requires a road that can be closed and a P.A. system.

‘Once again, Senza Tempo prove that they are one of the few dance companies that can successfully produce work specifically for the street’. Jeremy Shine, X.trax Festival, Manchester.

Thanks to

Montse Colomé i Lola Puentes

“As all of Senza Tempo’s work, Peixos a les butxaques shows an extraordinary performance…The solo played by Carles Mallol is truly splendid.”
El País, Sunday April 7, 2002

“Senza Tempo’s work is poetry with highlights that always withhold a second thought…the best of “Peixos a les Butxaques” is this growing progress, its bet for vitality which is namely their characteristic….The grove where Senza Tempo find their rotos is its facility to seduce with powerful and auggestive images”
La Vanguardia, Sunday April 7, 2002

“A show which stimulates imagination, paints a smile on your face and stimulates memories…The conjugation of these coreographies has propitiated a play which gathers the best of Senza Tempo.”
El Periódico, Tuesday April 9, 2002

Peixos a les butxaques – Photos

Photography

David Ruano Ros Ribas

More info about the show

Frena mi amor – Photos

Photography

Alfred Mauve Albert Casanovas

More info about the show

Zahoríes

“Everybody harbours an unquenchable thirst and an open wound.

This is the dark heart of human movement, where his strong and inner heart-beat is to be found. All dry earth hides within is depth the flow of water.”

(J. De Asbaje)

This piece can be performed inside or outdoors

Piece for one woman and two men

Duration 55′

Zahoríes is the third piece of the Trilogy of Water.

The journey begun in Lazurd continues. The characters have left the circle of water to go on their way. A different landscape is to be found; a dry, desolate wasteland; where they will have to search for water. Their search will take them deep into a world somewhere between reality and dreams. The process of desertization which inspired Zahoríes is that of the dry, barren Iberian regions; that of the concrete desert in which we live, and that of human relationships.

Our Zahoríes (water diviners) are searching for the subterranean waters of the human character; love, memory and dreams. These waters are there, flowing but hidden, while we are dying of thirst. They are joined by the wind and the sounds of the desert, the music of Spanish rituals and African voices.

Thanks to

Agnés Blot

Production of

Senza Tempo and Mercat de les Flors.

Coproduction

Fira de Tàrrega and Streets Ahead Festival de Manchester

Collaboration

Ajuntament of Lleida and el Ajuntament of Mollet del Vallés

Funded by

ICUB- Ajuntament de Barcelona, Departament de Cultura – Generalitat de Catalunya, INAEM- Ministerio de Educación, Cultura y Deporte. Colaboración en gira COPEC

Press

Senza Tempo bring us an interesting reflection on life, our individual internal strengths and our relationships with each other. (…)A beautiful, infinitely open, stage space with that projection onto the naked wall, and the desert-like floor sown with wild life. El Mundo (Valladolid), 28th May 2000

This story, told by Senza Tempo, is supported by, sometimes sensual, Mediterranean music, and by beautiful, suggestive images containing an expressive strength. José G. L. Antuñano, ABC (Valladolid) 28th May 2000

It’s an elusive and dreamlike show that is by turn, mysterious, humorous, abandoned and sexy. Manchester Evening News, 5th May 2000

download the dossier of the Water Trilogy (Word – 36 kB)

Spanish dance team ups the tempo for its trilogy finale. Senza Tempo.
Streets Ahead Festival Manchester

It’s a sign of the high regard which Manchester’s Streets Ahead Festival is held across

the world that Spanish dance theatre group Senza Tempo last night chose to stage a world premiere here rather than their native Barcelona. Zahoríes is the third part of the company’s Trilogy of Water.
It continues the journey that began in 1998′s enthralling Lazurd show and sees the company taking over Upper Campfield Market, one of the few times this useful site has been pressed into service since the Royal Exchange decamped.
The setting is a dry desert landscape through which three characters, two men and a woman, wander, fight and make love as they search for that precious but scarce necessity water. It’s an elusive and dreamlike show that is, by turn, mysterious, humourous, abandoned and sexy.
Its eventual meaning may be less than crystal clear but it still offers some worthwhile entertainment. Running as it does at just about an hour and, like all the other Streets Ahead events, completely free, this show is well worth investigating.

Evening news, may 5, 2000

Baptismal Water

This work shows how the boundaries between dance and theatre can be convincingly blurred. The theatrical aspect dominates the rest. The availability of space, the use of bodily expression, the interaction with different elements of the stage, and the development of the story itself are all examples of contemporary multidisciplinary theatre.

There are characters, motives, an introduction, development, and denouement, there is lighting, and a great deal of talent, charged with sensitivity. In other words, theatre expressed mainly through the body, using choreography, but in which the performers speak and sing. Opera, even? But providing a definition is not what matters here, rather it is a matter of feeling what these artists are offering.

A journey.
A simple journey with a number of disturbing, Beckett-like characters, who finally discover the sea, their own internal sea, the sea of baptismal water, that which initiates a being’s true existence and the possibilities of converting artistic expression into an unction that opens the way to emotion and stage compositions loaded with meaning – all taking place in the atmosphere created by a model soundtrack. A total performance, where every character has his/her own inner life which, taken as a whole, gives the strange sensation of a trajectory through an emotional state that drags out feelings and produces almost hormonal shocks in an audience fascinated by what they see, what they hear, and by the feelings produced through the combination of all the dramatic elements. The stage production combines the unique, the small converted into gigantic reference, and the spectacular. An initiation into subtlety where the actors/dancers succeed in drowning their characters deeper and deeper in the water, which is not only movement but also the communication of feeling.

All this is combined with the meticulous care of a watchmaker. Every sound, every light, every gesture, every explosion of energy contributes to a strange sensation of well-being and intellectual and emotional commitment in the audience, so that one can only sit back and marvel at the fascinating performance one is witnessing, while being baptised with water which, rather than isolating, unifies through the peninsula of talent, beauty, theatre, and dance.

Everything from the original idea to the directing, via the acting, takes us on a journey whose final destination is none other than Art itself.

by Carlos Gil, Gara, Bilbao, 14 february 2000

Ritual of Language and steps

The arival of Lazurd – second piece in the Trilogy of water – created by Carles Mallol and Ines Boza of Senza Tempo at the Cuarta pared in Madrid – as part of the madrid in dance festival- is a genuine surprise.
Not since “Le Roayume Milenaire” by l’Esquisse have we seen a stage strewn with perzian carpets, for the influence of Regis Obadia’s work hovers over Senza Tempo, as does the theatrical inheritance of François Verret, and indeed a whole era of new french dance, in which the poetic journey and its inherent social critique is a recurring theme.
In Lazurd, a haughty-looking lady reads the Financial Times while four errant beings act out the circus of life around here: gamble and risk, struggle and misery, trick and conjuring, like an adventurous, emigrant troop of actors or outcasts, whose antics are rich in symbolism.
And it is at this point that the wicked water ritual begins, in which farce and circus remain the mainsprings of the action.
All social and class differences are washed away, as a torrent of prohibited desires is unleashed, each whim and impulse becoming a valid motive on the way to ultimate ecstasy.
The excellent choreography is executed against a sharp selection of musical themes, (with allusions to dervishes and hard sex among other things) and set within an ingenious ans highly imaginative stage decor.
Worthy of special mention is the dancing and vitality of Ines Boza and the explosive chemistry she whips up with Victor zambrana, a little-but-large antihero whose muscles give rise to the most powerful poetic expression. The audience, aptly showered in the front rows by the aquatic exuberance of the performers, appaluded this serious and superbly performed work with great enthusiasm.

by Roger Salas, El Pais, 5 June 1999

 

Even before the lights dim, Senza Tempo is dealing in intriguing images. For, as we file into the long, vaulted tunnel at the very back of the Arches, the Blonde is already sitting on stage: unconcerned, elegant, enigmatic amid an unruffled sea of gem-bright rugs. When the lights do dim, this sad little trio creep upstage. Drab clothes, shabby possessions, and each with a stool that is used – in solemn rotation – as the next stepping stone in their arduous journey towards brief safety. In this case, a large wardrobe.

The air is heavy with the drumming of rain, the creaking of timbers – even the Arches neighbouring cranes fit in, like random bursts of thunder.
The whole sequence, with its cunning drip-feed of little details, looks utterly bizarre and yet it has the feel of so much familiar newsreel footage: natural disasters, enforced flight, displaced persons – and all within such close proximity to someone else’s untouched, impervious comfortable life.
Only the Blonde doesn’t stay untouched, or indeed unchanged. The deluge, being no respecter of class or beauty, spills over into her boudoir: or rather, this huge paddling pool is unfurled, centre stage. It’s a superb touch.
For, as the pool slowly fills with water so one’s mind also fills, with a mosaic of images and associations stirred by the music (Klezmer, Moorish, religious), the dance – sometimes dreamily sensual, other times fiercely, thrillingly athletic – and by the clever choice of occasional props.
By the end, the two men and three women are utterly drenched. The water has flooded their very being. After bouts of drunken bravado, histrionic penitence, rage, dispair, and a kind of torrential madness all (bar one dazed, stubborn soul) pack up and join the centuries-old line of homeless refugees.
A beautifully conceived and executive piece, this, full of comic whimsy and poetic drama but – as one has come to expect with this Spanish company – always expressing cogent insight about individuals and society.

By Mary Brennan, The Herald, Glasgow, May 13, 1998

Zahoríes – Photos

Photography

Alfred Mauve, David Ruano, Jordi Puig, Gerardo Sanz

More info about the show

Lazurd Un viaje a través del agua

El mediterráneo no existe…

se trata solo de un mar interior que

uno debe navegar cada día. Sus aguas tan limpias son el fondo azul de la memoria.

(Manuel Vicent)

Dance Theater piece for indoors and public space

Piece for 5 performers

Duration 60′

The story of a journey to nowhere, an experience of transformation. It is built on the astonishing front of frontiers, on the fascination and fear by the different.

A circle of water is the space where different ways begin or end, a meeting-point for celebrations, a focus for sensual, age-old rituals. And also a journey with ghosts and childhood games through a circle of calm water. Lazurd let it go by music’s spirit of wandering people like Gypsies or Jews.

Coproduction of

Senza Tempo con la Fira de Teatre i Dansa de Tàrrega, Manchester International Arts y Expo’98 de Lisboa (BP).

Colaboration with

Lower Manhattan Cultural Council and the Ayuntamiento de Mollet del Vallés.

PRESS

This work shows how the boundaries between dance and theatre can be convincingly blurred (…) But providing a definition is not what matters here, rather it is a matter of feeling what these artists are offering. A journey. (…) Everything from the original idea to the directing, via the acting, takes us on a journey whose final destination is none other than Art itself.. Carlos Gil, Gara (Bilbao), 14th February 2000

The excellent choreography is executed against a sharp selection of musical themes, and set within an ingenious and highly imaginative stage decor.

Roger Sales, El Pais (Madrid) 5th June 1999

The audience broke out in spontaneous applause,… a work with moments of enormous beauty and irony. El País ( Barcelona) 14th September 1998

 

Let yourself get carried away by the music, the performance, and the enormous ability this group has to entertain. One’s attention doesn’t waver for a second, being totally enthralled by the beauty of the images and the ever increasing tempo.

Andres Molinari, Ideal (Granada) 3rd November 1998

 

A beautiful conceived and executive piece, this, full of comic whimsy and poetic drama.

Mary Brennan, The Herald (Glasgow) May 13 1998

download the dossier of the Water Trilogy (Word – 36 kB)

Lazurd, viaje a través del agua – Photos

Photography

Matt Glass Ros Ribas Barry Garside

More info about the show

Capricho – Photos

Photography

Celia Ayneto, Victor Zambrana

More info about the show

Capricho

Las mujeres y cuerdas, De la guitarra, Es menester talento Para templarlas Flojas no suenan, Y suelen saltar muchas Si las aprietan

(Canción popular siglo XVII)

Short piece of theatre – dance to the open air performed in squares, gardens, harbours

Piece for three women and one man

Duration 25′

Capricho is a sensual, ironic and surreal mediterranean story conceived on a roof in Barcelona’s gothic quarter in a warm summer of drought. The life on the rooftops and the ancient, every day rites of the water-bearing women. Water is in it a source, a source of pleasure and rivalry. The music is mediterranean (Egyptian, Italian and Spanish).

download dossier (PDF – 380 kB)

Press

the rhythm is perfect, the choreography irreproachable, the music all-enveloping,… the audience was captivated. Le journal dans la rue (Chalon sur Saône) 25 de julio de 1998

A performance in which dance plays a leading role and which aims to excite the audience through emotion. La Mañana, Lleida 8 de octubre 1997