Rik, El Niño sin Imaginación (Spanish Edition)

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Audio-Visual Materials contains photographs, artwork, a compact disc, videocassette tapes, and cassette tapes. Artifacts includes such miscellaneous items as oversized photographs, plaques, personal items, and folk art. Repository Browse List. Accessing Materials Described Here. Jim Sagel Papers, The personal and professional papers of New Mexican chicanesque author and educator Jim Sagel. Includes biographical material, correspondence, written works, teaching and other professional records, and audiovisual material. An appraisal of the Sagel Archive by John Randall, and a preliminary index and notes for the archive complete the section.

The series features solicitations for literary prizes, communication with literary agents, and letters from family, friends and colleagues. Collections are listed first in each subseries, followed by individual pieces, and then by miscellaneous materials fragments, notes, outlines that pertain to the subseries but that are not associated with any particular work. Three major editorial projects to which Sagel contributed are listed alphabetically, and are followed by collections and works of other authors that Sagel edited.

Individual essay collections are listed alphabetically at the beginning of the subseries. Published essays follow; they are listed first by place of publication, and then chronologically. The places of publication are in the following order: Albuquerque Journal and Albuquerque Journal North , other newspapers, New Mexico Magazine , other magazines, the Albuquerque Museum , and book and movie reviews.

Each article listed features a subheading describing the subjects of that article. Unpublished articles, listed alphabetically, and notes for which no draft could be found are at the end of the subseries. Albuquerque Journal feature articles. President' Latest of N. Group's Projects. Subject: Camilla Trujillo, Sam Quintana, pottery, music, sculpture, woodcarving. Subject: Deane Delgado, Alberto Delgado, retablos, santero, tinsmithing.

New Mexico Magazine Articles. Complete novels are listed alphabetically and are followed by novel fragments and untitled novels. During this week Federica Porello and Ilan Manouach will continue a collaboration that started in , when they first met in Brussels. The aim was, and still is, to find a common landscape between sound and movement through improvisation, while at the same time dealing with questions of autonomy and coexistence.

When not improvsing, they will be listening to the lectures delivered by Roland Barthes at the College de France in , entitled Vivre Ensemble. NU2's , in collaboration with L'animal a 'esquena, is holding its tenth laboratory. This year's is intended as a continuation of last year's. With the same title, Filmar la danza II Filming Dance II , it will again focus on how to make audiovisual adaptations of choreography presented or created for performance. This time we shall be working with loscorderos. The organisation of this 3D filming Laboratory has been made possible with the help of Bloom, a centre for 3D and emerging technologies in Gerona.

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Two fiercely independent spirits, authors and creators of universes of movement, always curious about the multiple forms of artistic expression, they were also both founders of dance companies in the grand old s. In the course of this project the relationship will be revealed between two people and a space where they "wait in silence" for another winter to pass.

It looked like it wouldn't happen, but here we are again. Yes, it's Bhum! Resisting, inventing, planning. Despite the general move to close down structures and silence initiatives in the arts, we are going for it again, another year, with this festival-manifesto. The arts belong to us, we all contribute to them.

We invite you, more heartily than ever, to take part and enjoy yourselves with all the artists who support us so that L'animal a l'esquena can continue to thrive as a creative meeting place. At this Bhum! Enric Ases will keep us company with his tender, critical humour. During this intensive period, Playground will finish the process of creation and production they have carried out during their year as resident guest company at L'animal a l'esquena. The drama is based on the following subjects of study: hypnotism and magic, routine and skill, will and ambition.

Starting with this mixture, power grows gradually, slowly but tirelessly, in search of perfection, the raw beauty of a superman. And as the mission turns the being into a monster, the echo of his acts also changes the view of those witnessing the experiment, creating a complicity in which everyone shares, spectators and manipulator. In this workshop David Climent and Pablo Molinero, loscorderos. The cycles of the changing environment put the finishing touches to the work, turning it into an anthropomorphic portrait of the place where it is set as it takes on the texture and colour range of its surroundings until it is completely mingled in and so disappears.

We shall spend five days on a specific study of some of the key aspects of how Mal Pelo understand movement and creation: the spine as a central axis, working from the extremities, perception of the architecture of one's own body in space, precision in writing, density and intensity, inhabiting gestures and movement in the present moment. This workshop will attempt to look more deeply into the use of the basic tools with which each of us confronts his or her limits and capacity. The choreography is drawn down into itself, casting aside formal obligations and rules of meaning, insisting on the affirmation of its pure existence.

In this residency, the three Uruguayan creators will visit L'animal a l'esquena to continue the exploration and exchange of ideas they began during a collaboration in They will work on the articulation of physical and modelled bodies, bodies of sound and light, in search of hierarchy-free relationships and the production of contingent worlds. From that meeting and the interests and affinities they have in common, a complicity and trust has grown that leads them now to put themselves in each other's hands. The two choreographers and performers become each other's instrument and driving force, in respective independent solos in which they swap the roles of director and performer.

Each solo feeds off the other, like a network of infinite positive and negative poles. With extreme austerity of resources, stripped of any musical theme or scenery, Antonio will direct Juan Kruz in a solo where the body becomes an emotional catalyst and means of expression: an ode to that global body, addictive and addicted to movement and dance, free of any narcissism. The voice is at the centre of Antonio's solo, directed by Juan Kruz. An eclectic and diverse repertoire mixing songs from different times and in different styles, arranged by Juan Kruz and sung live by Antonio, addresses themes of uprooting, exile, farewells and longing through a nomadic, defenceless character.

Using a limited choreographic vocabulary, here too the body keeps its integrity as an expressive and narrative tool. On roots. On distance. They have known each other since but their encounters have always been unexpected coincidences. This time they want to encourage the unexpected to take place within their meeting. To channel their desire to work on a piece together in a certain direction, they have begun a dialogue in which the how has emerged, but not the what. After over ten years working to spread awareness of dance, Toni Jodar can confirm that the public like to hear about performers' experiences at first hand — "fragments of life".

This brings them closer to the life and work of the artist and they feel bolstered by references that also help them to be a "better audience".

El loco invento de Frank Einstein / Frank Einstein and the Electro-Finger

Explaining things through personal experience is an invitation to the spectator to join the dancer on a journey he or she has already travelled. The aim of this project is to revisit and build on his version of the History of Modern and Contemporary Dance, and at the same time to reflect on the role and value of dancers. Katrina Brown pays a return visit to L'animal a l'esquena with the video project Beneath the Surface. In this residency the English artist aims to create a series of large-scale drawings based on her work with movement, using drawing to investigate the surfaces of her choreographic practice; wall, floor, paper, skin.

Her research involves approaching drawing as an action-image, between performing-drawing and becoming-a-drawing. She will work with moving-drawing scores from which emerge visual graphic images — material, spatial and temporal architectures. This project aims to be an "impossible" mix between a post-apocalyptic scenario, full of fantasy and humour, and a place for hope.

We will approach the tragedy of uprooting, which today's society has led us to, and where loneliness, helplessness and emptiness appear as the main signs and aspects of identity.

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Photograph: Guillem Valle. Rest of cast to be arranged. This was not a tragic generation. The period after the Second World War was a time of modernisation. They worked in Flamenco venues, tourist spots and ballets, at parties and US bases, on international tours. Myths abound: the Sevillian School, the differences between Seville and Triana, the gypsy style. The interest of this research lies not just in biographies, but in understanding a way of dancing that has names yet belongs to no one.

This research process has arisen from the desire to establish a dialogue between the real and the imaginary, between two bodies and their experiences. Also to observe paths that cross and are lost, the tracks that appear. We are taking the structure of the dialogue as our starting point, making us pick out the appropriate language, the meeting point where memory and object are in unison. He then puts this into a concrete chronological framework, running through the creation groups with which he has worked professionally.

These were all part of a singular generation who were called on to take responsibility for reclaiming the freedoms needed to find their own languages and satisfy the demands of a public hungry for new performance pieces produced with a new level of professionalism. After great efforts, reaping major rewards, they have all now earned broad international renown. This will be the second creation laboratory for the new project by Mal Pelo , L'animal a l'esquena's associate company. The aim of this encounter is to research, with Fanny Thollot, the tools for composing the sound track for this new piece.

During this residency, Igor Urzelai, under the helpful eye of Moreno Solinas, will begin the second stage of research for his solo Can't. This is a portrait in negative, taking failure as the impetus for action, in which the protagonist becomes a vehicle for the experience of the audience, looking into themes such as the desire to be, frustration, success or compromise. The project Par4sit3 investigates the relationship between light and sound, looking into the analogue world of the early days of the cinema. It uses unconventional sound devices, capturing the light they emit to generate synchronised images.

In collaboration with the Basque creation centre Azala , L'animal a l'esquena hosts a creation residency for Barbecho, a project by Natxo Montero and Laia Cabrera. To plough or till the land to prepare it for sowing. To plough the land to air it and let it lie fallow. Just as the plough turns over the earth to prepare it to bear fruit, play tills people's minds to make them ready for adulthood, when imaginary dangers will give way to real threats.

And just as the plough digs into the earth to give it air and make it fertile again, play provides a fallow period, an essential breathing space. His need to ask himself about the light and shade in a symbolic space, the wood, mirror of his thought and his own route. A suggestive sound space creatied by Fany Thollot in collaboration with the Tunisian singer and composer Alia Sellami and a set built with the involvement of all the performers with lighting by August Viladomat, offer us an evocative journey, a reflection on time and memory.

This is a parenthesis in her residency at El Graner, a centre for body and movement creation in Barcelona, to share another view of movement, presence and the body. After a process of researching materials mainly on his own, and after several presentations of the "work in progress", with the extracts Inventari at L'animal a l'esquena and Bolero: el part at Bhum!

This year the subject of the LAB will be "Filming Dance" or how to adapt dance from the stage to the screen, how to capture and re-write choreographic works originally made for theatre. Up to now NU2'S has worked mainly on Dance video projects, which were created for the camera from the start. This year we propose a step further, a time to think and share experiences, to practice different ways to adapt a dance piece already existing for the stage, how to find a new interesting visual point of view for the screen while respecting the original work.

We have selected a few fragments from four new choreographic pieces premiered recently, and we have invited their choreographers to think and practice with experienced audiovisual directors. Afterwards, secretly, in the imagination, the pair appear as a possible team with a presence of integrity and intensity. Both involved intensive work on the relation between body and text, a body that forms the structural spine of language, the backbone of the dramatic journey, using poetry and humour as tools for communication and reflection.

The life expectancy of a hare is a piece about the group, the identity of the body and its capacity to generate action and compose on stage using what is not said and not seen. Mal Pelo suggests working on their method of approaching movement and the idea of the silent pause. Using improvisation that materializes from a series of decisions based upon our experiences, our senses, and our capacity to imagine, provides the journey from silence to movement.

L'animal Tardor is the umbrella for a programme of activities centred around Creation, Nature and Science technology and other projects from 16th September to 5th October. The activities of L'animal Tardor aim to address the concerns arising from the relationship between science, nature and creation.

New horizons include visibility, social participation and diversity of discourse. When we talk about the arts and their territory, we need to talk about the margins and an attempt at decentralisation. The tasks of stimulation, participation and communication in a non-urban environment require dialogue and a constant process of doubt, questioning and reaffirmation. We take a scientific, creative and practical view of a changing environment that can still teach us a great deal about our social and political structures. The activities of L'animal Tardor include moments of reflection, creation, experiment and social gathering.

With this residency and a new performance proposal, she is starting on the third phase of research into the objectives she has set herself, with the aim of presenting a second solo piece. The aim of this residency at L'animal a l'esquena is to put the finishing touches to the street performance Pelat Stripped Bare before its premiere at the Fira de Tarrega The project consists, on the one hand, of individual physical work to give shape to and research the "object', a log, and its relation to the human.

On the other, it involves collective work with the people watching the show. This encounter is based on play, work, movement, listening and the responsibility of messing about with a tree trunk and working towards something ephemeral. The piece plays around with dance, proximity, childhood memories, risk, urban space, the circus, organic matter, responsibility, a tree trunk, and some people.

This return offers new possibilities for the project, in an ideal setting, where each member of the artistic team has found more than a house, a home for performance work that nourishes and stimulates the company's creative juices. Creating this project at L'animal a l'esquena and now coming back to continue and complete it, strengthens the bond between the project and the space itself and gives it a freedom of movement, with the very best tools and facilities to carry it out.

The aim is to create the tools needed to be receptive enough to make changes in order to follow their desires, curiosity and renewed complicity. Blanc is the first research proposal in the process of creating the first solo by the dancer Vania Vaneau. In Blanc, she looks into the different layers that make up the body, as though it were a landscape, with all it contains. On the one hand this body is made of matter, limited — it is used and uses its environment — and on the other it is utopian, multiple and infinite.

We seek to pass from one layer to another and the transformation this brings about in the body, in two distinct and concrete directions: firstly from interior to exterior, with physicality as a starting point, energetically and rhythmically, using loops and repetitions taken to extremes of intensity, with the idea of trance, flight, ascension; secondly from exterior to interior through masks, costumes and purely visual transformations.

We want to play with the layers of a continuum that goes from present reality to theatrical fiction, from the real to the imaginary, from the rational to the irrational. This new creation is a declaration of intents in which the flesh places itself at the service of the creative spirit that moves us. In this project we will relate with everything that feeds our "spirit" from the standpoint of what is purely creative — from the standpoint of our established but constantly evolving stage language.

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We are consequently reacting to the spiritual perplexity which it has been our lot to experience and which our craft prevents us from ignoring. We do not pretend to make a reasoned theoretical reflection on religions or spirituality, but rather to delve deeper into the experience of a fiction and to experience creativity as a spiritual fact for both the person in action and the person who observes.

The creation of other possible realities is our craft and our faith. The upholding of the act of creating as a spiritual gift is one of this production's goals. We seek to conceive a pagan performing ritual in an attempt to reconcile ourselves with the decadent view that is held today of "the spiritual", a concept which, although abducted and monopolised by religions, is inherent to all human beings, regardless of whether they may be atheists or believers.

In the year nineties, when I started to create dance pieces and tried to show them in theaters, producers were always saying "Send us a DVD". I thought back then that creating a show called DVD would be an appropriate idea. Twenty years later, it feels that the time has come to do it. DVD aims to present the story of a dancer, Vincent Dunoyer.

Dunoyer Vincent Dancer. A story as if it was, well, a DVD, with images, voice over, intimacy, moments of dance, why not on music from movies who were deeply personal even if they were talking about other people. Fictive characters should join the cast. Between imitation of life and private diary, from the letter A to the letter W, DVD, an autobiographical and abstract project, shall structure itself not so much as an "abecedaire" an alphabet book than a "devedaire". Body Weather Laboratory USA is a non-profit organization Body Weather Laboratory BWL is a research forum open to anyone interested in investigating expression through the body within different environments.

A demanding attitude toward a thorough reexamination of the body and movement is a main theme in all the aspects of the training. Originally founded in by Min Tanaka in Japan, BWL workshops currently exist throughout the world, expanding and reinterpreting the format for exploration. The work is done in couples, exchanging passive and active roles. The work encompasses sensitivity training and discovery of movement from images. The second was the same year at L'animal a l'esquena, as part of the programme of L'animal Tardor.

They met in Japan in , where they were both members of May-Juku, the company directed by the Butoh teacher and dancer Min Tanaka. For nearly 25 years they have each continued to develop their individual creative work, while spreading the Body Weather system, created in Japan by Min Tanaka in , all over the world. L'animal a l'esquena is setting up a new programme for guest residents. This aims to give more all-round support, providing guests with a fixed working space throughout and the chance to share in artistic dialogue and the creative process.

Playground will continue its research into the symbolic content of objects, through the research and creation project begun in and developed mainly in Mexico, Brazil and Argentina. The main aim of this creation period is to begin staging material for the next piece, to be premiered in Investigating ways to induce a dancing state from any starting place using communication tools of Tuning Scores, an improvisational approach to ensemble collaboration initiated by Lisa Nelson. A multi-sensorial approach to the questions: what do we 'see' when we look at dance?

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Initiating a playful and rigorous dialogue-in-action about space, time, movement, and the innate desire to compose our experience. Another NU2'S Laboratory at L'animal a l'esquena, offering time for research and the creation of pieces centred around the body and movement, that establish a dialogue between disciplines and use audiovisual tools in their presentation. The discourse is expressed through the body and its capacity to generate action and improvisation, using what can not always be spoken or seen.

We will be working toward defining a shared but invisible space punctuated by "pathways", the group of dancers creates its own dynamic, flexible and complex language without needing to designate a leader. Several bodies interact spontaneously and harmoniously, as though a single conscience were guiding them. The passing through takes students through various exercises to manifest Zambrano's philosophy that movement needs no leader in creation. The students will create dynamics that will be flexible and complex at the same time, getting the group to fit tight together, yet always keeping doors open for the unpredictable.

The group moves constantly, transforming the environment of the dance. The students work to see the room full of pathways — infinite pathways passing through the walls, the floor, the bodies. These pathways go in any direction and are filled with curves, large medium and small curves. Thus the passing through is created into a spontaneous composition.

When the group becomes one mind, it can never get lost, it is always going some where. There is never one person leading or following, every one is leading or following, depending on the situation. The whole group is constantly traveling. This workshop is very physical. Britney Spears enters on stage 5th July , A. The bitterness of their beers mingles with the disappointment of having seen the singer buried under an unfailing speactacular machine. A too full show. Too smooth.

Too well-done. M Samuel spills his coffee cup. He picks up his phone and calls Marta. M It's settled. They will make a performance out of their frustration. My name is Britney Spears is not just another performance, It's one less performance, It's about, how from the same songs, choreographies and visuals, we simplify, lay bare, substract in order to find Neil Harbisson and Moon Ribas work with the perception of the senses through changes in channels of perception. Talking Feet is a performance piece in which they work on communicating spoken language through other parts of the body.

The two dancers met in Japan in as members of Mai-juku, the company directed by Min Tanaka. After the first show in Los Angeles in March , they continue the process at L'animal a l'esquena. I hope to make them felt through physical and poetic work to delve into the subject" In collaboration with Quim Paredes , among others.

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The idea is to pan around with a video camera, picking up fragments, perspectives or points of view that tell us something about certain qualities in the action, suggest stories or create situations that go to make up a portrait. The project will use big spaces, where the performer can search around, pursue his or her desires and stay there for a while. The aim is to build senses and meanings through action, exploring the space under observation and training the gaze.

Leo Castro 's task will be to watch this private time. The starting point for Confession is the idea of hope, where it is to be found today, how it manifests itself and what steps humankind should take to reach out for it. Hope as an act of nonconformity and spiritual revolution that frees us from a merely passive attitude of waiting or of acceptance of its absence. Loscorderos, SC feel a need to tackle new approaches to the company's creative work, from a fresh angle. Given that their performance language, though not fully formed, has a marked character and particular nature of its own, they would now like to enter this language into a dialogue, to relate to other performance languages.

The idea is to open up this conversation with other creators so as to look into different ways of understanding creation and the stage, in the hope of providing creative and artistic nourishment to both parties. Let's Play? Final Stage is an artistic project that investigates the use of new technologies applied to sensorial investigation.

Let's play? This artistic research somehow relates the limits of children with those of adults. The idea of this work began with a question: how would you react if we had to learn all the new codes of behaviour of a completely unknown world? A game that leads to fun and confusion, and encourages us to look at things through new eyes. Our methodology, based on teamwork and the fact that the spectator is the main character, tries to give answers to some questions.

Taking into account that our research responds to the need to recover the body as a source of knowledge, memory and speech, we ask ourselves: How does the body of the viewer reacts to darkness? How does he or she react to decision-making? How do this body handle the freedom and the absence of orders? During this residency, the Let's Play? Team wants to develop the Final Stage where we will work on the use of sensors applied to sensorial performing arts language.

L'animal a l'esquena is the starting point for the creative process of this new project. The aesthetic and temporal concepts behind the work of the Teresa Navarrete Company include elements that connect with aspects offered by L'animal a l'esquena, so that this first stage is full of anticipation and potential. It is intended that the process should continue until The project to be developed in this residency is a continuation of the piece NEW. The idea is to work on the script for the piece, taking it apart at the seams so as to transform and reinvent it. Organic documentation is the record that happens naturally, made up of what the performance leaves in the memories of those taking part, those who create the event, without the need to resort to any other device beyond their own bodies.

It is also the record of the constant and continuous evolution of a live event, impossible to preserve. After demonstrating his working methods during the creation of a painting, the plastic and visual artist Joan Vilajoana proposes to seek out the active body, the physical presence that creates a work of art, in both its tangible and intangible aspects. The aim is to show an entire creative process in which waiting, emptiness, doubt and encounter make up the act of creation. The tangible part of this process lies in Joan Vilajoana's execution of the creation of a painting.

Trained as a social educator he worked for over eight years in this sector, in different fields , Vilajoana has spent over ten years giving drama classes in various schools, such as El Galliner in Gerona. With a varied background in dance, plastic arts and performance, he is a member of the theatre-in-education collective Kilalia.

He combines teaching with his work as a visual artist. He has held many exhibitions. What does this mean? How do we change as a result of what we have lived through? How many identities coexist in each of us? Does each one have its own nature? The exploration will begin by investigating which part of our head and body decides what we believe in Which identity of the self governs actions and thoughts? The aim is not to try to represent the characters we carry inside ourselves, but to discover them and find out how they relate to each other. Both directors of the company would also like to work on the direction of a piece without being involved in the performance.

For this they will have performers with whom they have already collaborated closely and can now deepen their relationship. The work will focus on a solo. Both were immediately keen to collaborate but it is only now that they have the chance to work on this first laboratory, which is planned to be continued in , finishing with a performance at Marseille , European Capital of Culture.

They are both also especially concerned to pass on their artistic experience to new generations. In Black Sun their two languages approach each other for the first time, a first pooling of two creative worlds of great strength and poetry. Pep Ramis will document and contribute artistically to this first encounter. An international cooperation project supported by: www. Presentation by Tahar Chikhoui critic and teacher of film analysis, Tunis. This project arose from a desire to work with the body, space, objects and sound and is based on a very personal idea of play.

The company will use play as an artistic practice and working method, emphasising its potential to suggest totally individual situations and contexts that can lead to new realities, new frameworks for action and new, subjective ways of relating. Fenster is a performance piece that aims to offer different windows for the contemplation and interpretation of different realities.

Each of these is intended to remove us from the known and concrete, transporting the spectator to a suggestive world that gives rise to many questions, a place constructed by the manipulation of perceptions, giving new meanings to the body and space. The residency at L'animal a l'esquena will be used to define the final details as regards the body and its movement, finishing off each of the sections that go to make up the piece.

This is the third laboratory for the creation and communication of artistic knowledge and language, a project launched in with the aim of setting up a space to teach directly about the experience and practice of creation. The idea lies somewhere between the training of performers and a search for artistic language.

In recent years Mal Pelo have formed long term relationships with performers and creators with established artistic careers, in order to familiarise them with the company's working methods and be able to carry out ongoing laboratory work in which questions and suggestions will arise from both individual and group experience. Alain Forneau and Carol Vanni have traced a path through a territory of shared concerns, in which the text flows from confidence in the body in motion, the dancing body, and is, literally, embodied. They have woven a series of texts, songs, pieces of music, sensations and emotions into the movement to sketch a possible, ever-changing portrait of a woman who talks and dances on the same impulse.

The quest is to find the perfect, precise moment in a resonance. The starting point for the work, at this residency at L'animal a l'esquena, will be a sonata by Telemann. They will be accompanied by the Portuguese actress Paule Diogo. This project emerges from my interest in artificial nature; in those places inside and outside of us, which have been modified but seem to be spontaneous.

I wonder what does the expression to be more natural means. Where does the artificial end and where does the natural begin? Supposing it is possible to return to a natural essence, what does the so-called "to connect with nature" mean? I am fascinated by the hybrid between the human and the machine. I am not interested in one extreme or the other; I am interested in what emerges between the two definitions. Between the organic and the artificial. This is what I think we are now. Without realizing that our nature is already manipulated, that manipulation is an inborn quality for us.

The one week residence at L'animal a l'esquena will be a first approach to its natural environment in order to set the physical and conceptual basis for the sculptural intervention Vertical construction-L'animal a l'esquena. Vertical construction is a series included in the interventions in natural environments project, which I have been developing since The project involves creating human sculptures using natural materials which can be eroded over time.

Natural transformation cycles conclude the piece, which becomes an anthropomorphic portrait of the location in which it has been placed by acquiring the texture and chromatic spectrum of its environment. At the final stage, the piece becomes totally integrated with the environment, and thus disappears. It is a research, a dive, a quest to their inner animal. It is starting off a search for a mystical or real horse, like a ceremony, a sort of rite, a research, like an obsession to release the body, to let it take the power.

It is playing with the bodies as with sound boxes, playing with the bodies as with canvases, to enter the intimacy of the breathings of expirations it is a path towards indigence, a constant search. It is being under a red rain, like in a cave, the matter transforms the space, overflows, squashes, is poured and then cleaned. It spills, glides over the bodies, reduces the movement and leaves marks, masks, clowns. The paint as matter, mother earth, the one changing seasons, the one putting the rhythm to our life cycles, like the time that passes and is encrusted under the skin.

We wanted to return to the showroom to go back to basics, to get us back into research and provide ourselves with the means to focus on our know-how. We will be two on stage, because there is the desire to find ourselves facing each other and reviewing all our possibilities We see this project as a necessary step in the company's artistic research to be able to open further doors. A workshop on desire, creation and edition of materials for stage.

Writing, reading, meaning, time, silence, context, ritual, representation, aesthetics Others' desires and composition parameters are most surely not my own ones Each of us is a unique combination, a particular throw of dice, a manner in which life is presented. Life in each one of us is a degree of potency, it is not something fixed and given forever, but, something continuously becoming, growing and diminishing. These different movements of becoming are personal, they are not guided by identities.

Becoming is a process of desire". Deleuze details Pre-Registration. Due to my obsession about learning I am willing to start a research about something I understand as principal: training. Training as a place that provides a complete physical and psychological preparation. The research about limits as training I'm asking myself what type of training would allow us to achieve a certain state which offers a total availability useful for any kind of psycho-physical activity.

A state where we can be, where we can move and perceive the constant movement of what surround us, of what we are and what we do. That is, find the type of training that would help us to obtain this state that testing the body and disposed of.

Jim Sagel Papers, 1947-2002

We are aiming to start a process in which we install ourselves and walk through and around body, environment and limits I believe limits as a state, as a place, a way to be. These limits will be treated of their different aspects: spatial, therefore, territorial, and physical, therefore, emotional and psychological, perceptual and sensory. We consider limits as imposed and prelearned boundaries. We want to discover how they conform our reality and how they make difficult for us to go beyond what we are, where we are and what we do. Slow Sports is a dance piece investigating the fascination with sports, and the totality of how they are experienced.

This piece will explore the way athletes experience movement, the physicality of athletes and sportsmen: their bodies, their beauty, their rhythmical movements, their facial expressions, the sounds their actions produce. We will also explore how the experience of competitive sports is structured for the spectator: how athletic events are organized, how they are portrayed and commented on in the media through television, documentaries, radio and newspapers , and how movement has been sculpted by artists. In this residency a first skeleton of the piece will be created.

We will: - Narrow the number of sports we will utilize. This project is the interaction of art and artistic expression with different element of nature. Were you able to "read" them? Did they enhance your understanding of the story? Malinalli's father tells her "Your word will have eyes and will see, will have ears and will hear, will have the tact to lie with the truth and to tell truths that will seem like lies" page 9.


To what extent was her father's prayer realized? What forms of power might a translator have? Which ones did Malinalli have as a woman and a slave? Which ones do you think she used or was tempted to use? Was she aware of her own power? Malinalli finds meaning in the Christian rituals, linking them to her culture's stories and deities.

Were you surprised at how easily she was able to embrace both traditions? Which rituals and symbols are common to both the indigenous Indian religion and to Christianity? How does your own faith affect your response to Malinalli? Toward the end of the tale Malinalli questions the role of human sacrifice and the loss of life in war. Would a woman of that time and status have such progressive ideas? Discuss other times in the novel where she demonstrates such forward thinking. When does she not? History and fiction intertwine in any work of historical fiction.

As you read Malinche, did you find yourself wondering which details were historical and which were the fruit of the author's imagination? How do you think the derogatory usage of the word "Malinche" affected the author's desire to reimagine Malinalli's story? Malinalli says, "the search for the gods is the search for oneself" Page How does faith, the pursuit of meaning, and the desire to understand deity frame this novel?

Ultimately, how do you view Malinalli? As a traitor, a martyr, or as a heroine?