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Arts de carrer, Arts escèniques, Espectacles, Festivals, FiraTarrega, Suport a la Creació 06/03/2017 Àrea de comunicació
Poetry in action. Or some ways to go when something first starts
By Eva Marichalar-Freixa. Creator, arts based methods researcher@virginiafochs
Aquest text és una justificació i un document de partida del projecte internacional A Ferida / La Herida, coproduït entre el festival Imaginarius i FiraTàrrega que té una clara voluntat de diàleg artístic entre creadors catalans i portuguesos al voltant del concepte de la memòria. L’espectacle resultant s’exhibirà a l’edició 2017 de FiraTàrrega.
Here is some first data: City of Tàrrega, 2016/11/20 – 2016/11/23. During these days, Fira Tàrrega and Festival Imaginarius brought together a group of Catalan and Portuguese artists to set up the basis of a new project for research and co-creation between both countries; each artist was asked to create and perform a solo piece that would then be a part of a dialogue between them all. Some more data to continue: Our memories as a keystone to trigger conversations between two countries that have grown up turning their back on each other. Our memories as an opportunity for each artist to explore beyond his/her previous boundaries, simultaneously enhancing personal singularity. Our memories as a collective place where to dig into intimacy, so that we can then put them into conversation. This coproduction between both festivals will see its first premiere next spring at Festival Imaginarius, and then again in a new setting at FiraTàrrega in September. Confirmed artists are Rui Paixão, Catarina Campos, Alba Torres, Pau Masaló Llorà, Quim Giron Figuerola, and artistic director Julieta Aurora Santos.
On that first intensive meeting back in November, after being contacted by both festivals to outline and coach a methodology for this start-up encounter, I met the group with a very specific goal in mind: creating situations where active listening and favourable conditions for acknowledging one another could emerge. Each one should be introduced to the rest of the group by the means of the experience that was being shared by the whole group. Each one’s singularity should get the chance to be recognized at its right time during these first days, having also the opportunity to share previous personal creations and a professional profile that would then increase the possibilities of this collective project. Situations where outlined as in a three days dérive. I chased for those moments where to get lost and those where to be found, some moments to walk and some others to sit down around a table settled with some food and drinks, moments in solitude and moments to feel each other’s nearness, moments to talk to oneself and moments where to hold long and passionate conversations all together. Those where optimal moments to build up the foundational agreements of the whole process that was about to start: What was important for us to talk about? Which landscapes would take us and our stories in? What channels could facilitate growing up our conversations over the distance? How were we going to deal with production terms and conditions? It was important for me that each single decision to be made brought within the same melody, the same aesthetics that we could later on identify when enjoying the final performance first in Santa Maria da Feira and then in Tàrrega. During these days, I focused on those in-between spaces and times where nothing seems to happen, nevertheless, the most essential is being revealed. I cared for facilitating spaces and times where the group could build up a frame of mutual understanding where to go back to when feeling lost, a place where to feel at home quick after meeting again for intensive rehearsals before both premieres. After our kick-off encounter in Tàrrega, the team would be creating apart together; that is, they should start creating their solo pieces and the narrative that would join them all miles away from each other. Distance is a hard condition to play with; we knew that at some point, we would end up facing disenchantment. Therefore, building up a symbolic house which hosted the aesthetics of the relations braided on those first days was not only a key condition to overcome future concerns, but also the core of a previous need that would shift us from the pre-established idea of site-specific to that one of symbolic-specific, as I like to call it. It was during our stay in Tàrrega when we could feel the symbolic growing up strongly as a place, a house, a key idea, the heart of the creation. Translating that into words, the group decided to call it LA HERIDA / A FERIDA. Wounds came up as the formalization of all those agreements made during that first encounter, an appropriation of the concept that both festivals had asked us all to start up with, the official title and yet a symbolic space –that is, our home, our island, silence, a circle, a hole, flat and dimensional, a lived space, a space for deconstruction and construction, prohibition, omission, farce, disorder. Llegir més…
