Tabakalera taulara : bombón coreográfico
Every Thursday this summer, always at half past eight in the afternoon, the rooftop terrace of Tabakalera will again host a selection of work linked to live performance arts. From 6 July until 31 August we will be able to enjoy different proposals that combine sound, the body, movement, choreography and language.
Maia Villot has prepared a selection of works by Rodrigo Cuevas, Maite Arroitajauregi (Mursego), Jorge Dutor and Guillem Mont de Palol, Idurre Azkue and Joseba Irazoki, Hipólito Patón and Vicente Arlandis, Jaume Ferrete, Beatriz Setién and Lisa Nogara, Luciana Chieregati and Ibon Salvador (Colectivo Qualquer) and Nazario Diaz.
Thursday, Thursday, Thursday,
many, many, many Thursdays,
every Thursday in July, every Thursday in August
… up on the fourth floor, up on the rooftop terrace,
under the open sky, when it's still daytime, when it's not yet night-time,
during that in-between where we know how we'll start but not how we'll end.
Something every Thursday.
In each thing some bodies.
Bodies dancing, bodies singing, making sound, vibrating, talking, moving, travelling.
And Frankenstein's wife, the picturesque agitator, Margaret Thatcher, Beyoncé, the human microphone, dancing for the sake of dancing, voices, words, watercolours, velvet, tribute songs, choreographies, actions and invocations, laughter…
All unleashed upwards, without a ceiling to stop them.
Infinite, without borders, you can hold it wherever you want, it is easy to apprehend, its presence is obvious.
I would like to cover the entire ground with velvet, pale pink velvet. Not today's velvet, but that old velvet that was used to make skirts or upholster
armchairs. A particular quality, a higher density of the fabric's fur. Each hair has more consistency, so when you stroke it with the palm of your hand first there is a kind of global resistance of the hairs, as if they were all in agreement and could act in synergy.
Once that first moment of resistance yields to the intention of my hand, that same totality and synergy of the hairs accompanies and reaffirms the direction in which I move the palm of my hand.
I dedicate this piece to my mother and to Paco.
Production and/or aids: AZALA, EREMUAK, Casa de Cultura Ernest Lluch, Théatre de L'L, Le Vivat, Scène Conventionée Armentières