Una nueva producción especial del Circ Bover para la celebración de la primera década de la compañía.

Espectáculo de circo contemporáneo, a partir de un sencillo elemento: las cañas de bambú. Se construye un espectáculo con el objetivo de transmitir la elegancia y la técnica de las artes circenses, a través de un montage totalmente diferente y sin precedente.

Los elementos escénicos se transforman, junto a las emociones y entre ellos surgen diferentes números de circo. Se nos muestra que partiendo de aquello más esencial, de elementos sencillo, se llega a la sofisticación y a la calidad artística y técnica extremas.

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 es un trabajo instalativo que recorre algunos pasajes de la cultura vasca.

Oskara supone el encuentro entre Kukai Dantza y Marcos Morau / La Veronal. Es la unión entre dos universos coreográficos y dos miradas hacia la danza que navegan entre la raíz más popular y la expresión más vanguardista. Oskara es un trabajo instalativo que recorre algunos pasajes de la cultura vasca, mitos, desde su origen hasta la época contemporánea y dibujan un recorrido plástico y emocional de símbolos e iconografía de fuerza ambigua y desconcertante que, de la manera más absoluta, contiene la historia de la experiencia humana.

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.

¿Cómo encontrarte sin taparte y descubrirme sin infectarte? Una necesaria urgencia de renovar. Dame un consejo, una opinión, aunque estemos alojados en el mismo nudo, tal vez escuche o tal vez no.

Pisar el cordón para cortar los amarres y derramar el realista equilibro, soltar las reglas para una deriva entre los improbables enlaces del hacer, un recorrido desde el cuerpo, atrapado entre avanzar y retroceder, tratando de reencontrarse con aquel momento determinante y volver diferente. Un paso alterado y todo ya empezó, o simplemente todo sigue, ¿quién sabe?

Por las dudas… písate el cordón.

Asuelto es una exploración en proceso del trabajo de HURyCAN, una observación dentro de nuestra realidad para alcanzar acciones necesarias, comprender la vida como un organismo, como un cuerpo en movimiento, que transmite y comparte lo que es: mágico y tangible, conceptual y sensible, hermoso y feo… Vivo.

Una de las mejores obras de William Shakespeare, The Winter’s Tale (Cuento de invierno), aunque escrita en el mismo período que La Tormenta, desmonta todas las reglas que La Tormenta respeta: las unidades aristotélicas, del espacio, el tiempo y la acción, se tiran por la borda a medida que recorremos Europa, desde la tragedia a la comedia, a lo largo de un período de dieciséis años.

Cuento de invierno habla de un rey delirante y paranoico que destroza su familia. Pero este es el nuevo Shakespeare que, habiendo completado sus grandes tragedias con la dura lucha por la redención, da paso a la esperanza. La oscuridad inicial da lugar a la alegría y el tiempo conduce a los personajes hacia una abrumadora conclusión.

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.