A new special production of Circ Bover, celebrating its first decade as a company.

A contemporary circ show, from a simple element; the bambu. They create a show whose main goal is to transmit the beauty and elegance of the circus arts, through a total different performance without precedents.

The primary scenic elements are transformed, with the emotions, and between them shows up different sketches. It's shown how starting from that is the most essential, simple elements, arrives to the sophistication and extreme artistic quality and technic.

Borderline marks a turning point in Sébastien Ramirez and Honji Wang’s research and choreographic language. The dance expands in a dialogue between technique and the art of rigging, while the reflection on human relationships now includes the reality of living together in our democracies. Social boundaries are evoked by the interplay of physical forces on the stage as well as through testimonies - collected from the dancers’ friends and relatives, or from the media, and broadcasted in voice over.

The rigging element, a scenic tool notorious as Deus Ex Machina in the Greek tragedy, allows us to approach weightlessness to create a timeless poetics. In the interaction with the rigger, the body becomes the object of a “weight game”, of balance and freedom. Attached to cables, the five dancers bring to light and transpose the desire of freedom inherent in all forms of dance, especially Hip Hop. With a wealth of experience in levitation, Hip Hop discovers new ways to thwart gravity in its virtuosity of footwork.

The gestures and the costumes create images that reflect Greek and Korean traditions in animality, as well as in our desires and angsts. Between the promise of freedom and the violence of keeping our bodies on the ground, is a space allowing the invention of a new gestural approach. With great fluidity, the piece displays accents of acrobatics, visual poetry and the urban universe. It extends to the ground where the gravitational borderlines shift horizontally, in a mobile scenography that continues to evolve throughout the performance.

Three ordinary girls, Tisana, Ruhab and Haleema. Best friends forever. All the big issues: love, sex and religion …

But when they are kidnapped from their hometown in Nigeria, their world is turned upside down.

Hope and despair blur, jokes and fights become one, and each must find her own way to survive in a world of smoke, dust and gunfire.

Girls explores enduring friendship, girlhood and the stories behind the headlines that quickly become yesterday’s news.

Oskara is an installation work that reviews some aspects of Basque culture.

This project means bringing together Kukai Dantza and Marcos Morau / La Veronal. It is the union between two choreographic universes and two perspectives of dancing that navigate between the most popular roots and the most avant-garde expression Oskara is an installation work that reviews some aspects of Basque culture, myths, from their origins to the present time, describing a plastic and emotional path of symbols and iconography with an ambiguous and disconcerting force which, in the most absolute way, contains within it the history of human experience. The dramatic code points towards a performance structured by an accentuated, almost violent, language of abstraction, where only the order of the arrangements can provide certain sensory logic.

Simon David has everything he needs to be an international superstar — the voice, the musical talent, the look, and a very unique selling point; he’s a virgin.

With a four-piece band ready to accompany him, Simon exudes presence as he walks on stage, scantily clad in a Beyoncé-esque black leotard. At only twenty one, it seems as though Simon was born to perform. The confidence and skill that radiates from him is almost mesmeric. From the minute he walks onstage, he is ready to entertain his audience with his skilful storytelling. Not only does Simon tell stories and sing but he also aids his band with an assortment of instruments including the saxophone, accordion and clarinet.

Far from normal stand-up comedy, he switches between catchy songs and spoken segues filled with gags before then being used to introduce the songs. Although containing multiple moments that have the audience laughing (some uncontrollably), these segues are a bit pale in comparison to the incredible musical numbers, which are filled with humorous moments themselves.

With songs like Threw It Away and Are you f****** kidding me? this young talent is a must-see. His musicality and the writing are incredibly polished and every song is performed with an outstanding amount of conviction and talent.

This is a show that has all of the potential to transfer from Camden to Edinburgh, assuming that Simon has not signed his record contract by then! I have no doubt that Simon David is going to be a name that we will all know one day.

A piece of movement composed by Candelaria Antelo and Arthur Bernard Bazin, together with two performers who together make up a young quartet.

An observation of reality that understands life as an organism, as a body in movement that transmits and shares its attributes: magic and tangible, conceptual and sensitive, beautiful and ugly at the same time… Alive. The need to renew, to break free from anchors. A choreographic trip that starts from the body, trapped in the doubt between moving forwards or going backwards, to find a defining moment that encourages change.

One of Shakespeare's greatest plays, The Winter's Tale, though written at the same period as The Tempest, smashes all the rules that The Tempest follows. Unity of time, place and action are hurled aside as we range across Europe, from court to country, from high tragedy to low comedy, across a time span of sixteen years.

The Winter's Tale tells of a delusional and paranoid king who tears his family apart. But this is the new Shakespeare, after he completed his great tragedies, and the tough struggle for redemption yields flickers of hope. Initial darkness gives way to joy as Time leads the characters to a shattering conclusion...

Described by Artforum Magazine as Yasmeen Godder's "tour-de-force" choreography CLIMAX has been originally conceived as a site-specific performance for a Museum's space. Reassembled anew by Godder to fit into varied of open spaces the work is an active invitation to the audience to move as they engage in an emotionally intimate, yet forcefully provoking performance. Incorporating tension-filled movement phrases from Godder's 15 years of artistic oeuvre, the three hour long creation is choreographed to blend between performers, audience and space. The six dancers are situated in-close proximity to the public allowing themselves and the viewers to be captured and released from each other's grasp. The almost ritualistic creation of circle shaped forms in the space turns the viewers into witnesses as well as participants.

Seamlessly deconstructing and integrating new situations out of Godder's physical, emotional, communal, spatial, and conceptual lexicon of movements, the dancers are reassessing the human condition as it culminates throughout Godder's concrete reality. The essence of dance and performance is rendered through the deftness and sensitivity of the dancers as they challenge the viewers' perspective of space and time. Examining the art of performance and its relevance in our troubled age, CLIMAX utilizes repetitions, unisons and group tasks in an attempt to critically investigate current notions of national identity and self-determination.

Creado en 1994 para inaugurar el túnel del Canal de la Mancha, Xarxa Teatre parte de la obra del poeta valenciano Ausiàs March para poner ante los ojos del espectador un mar idílico pero también apocalíptico; un mar que es fuente de vida y espacio conector de culturas pero también un mar en plena destrucción, convertido en cementerio nuclear y permanentemente en llamas por las catástrofes petroleras.

El mensaje medioambiental está hoy en día más presente que nunca, como también la propuesta escénica. El uso de la pirotecnia y de los elementos móviles acompaña la travesía de un barco que, en cuestión de segundos, se transforma de un idílico velero a un petrolero.

Blanca Li takes the urban streetdance style electro, a dazzling mix of breaking, disco, vogue, popping and locking, off the streets of Paris, mixes it up with some theatre, contemporary dance and an amazing soundtrack and gives you Elektro Kif.

It’s a show about the hopes and fears, friendships, fights and rivalries of an all male cast of eight exceptional young electro dancers, following them through a typical day at college. It’s funny, fast, colourful and anarchic and features an exhilarating especially composed soundtrack by Tao Gutierrez, which mixes techno with electro house, afrobeat, sampling, and classical music.