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Aliaksandra Kononchenko

Israel Galvn, the end and what follows 4

Those who take part in this Fiesta 7

The structure ofthe building isbest seen

when its on fire 12

Credits 14

Tour c
alendar 2017-2018 15

Contacts 16
I want to fight
aMiura bull with
To be able to dance, I have to kill myself a little, when I
envision a new creation, its like a world, a world I want to
go to, and I want this world to lead me towards something,
with the music and movement, and I spend my life trying to
achieve this, I have to go through noise, through nuisances,
through pleasant moments, though violent moments,
moments when I do very risky things, and do them with
such strength that I can injure myself, if I did not risk so
much, I would just be professional.
I went through my virtuosity until I realized it was a
suffocating dictatorship, and now, when I move, I cannot
move out of virtuosity, I need to break the rhythm, to get
out the rhythm, to open new worlds. This isnt a contest!

Israel Galvn
It took the whole it remains the occasion and mean to find a company. And
ISRAEL GALVN, from then on, all becomes possible
of Creation
To produce my foot, THE END AND WHAT
Dancing with others affects you.
my each feather: FOLLOWS Bringing together around him this company of atyp-
Now I hold Creation Lola Gruber ical dancers and musicians, Israel Galvn eschews the
codified and uniform movement that is the essence of

in my foot ballet. Neither has he chosen untried, malleable dancers
Ted Hughes Hawk Roosting
an one ever begin at the end? To do so it would to teach his own choreographic idea. Some of them come
be necessary to be able to say when the end had from the world of flamenco, others, trained elsewhere and
begun. Like Metamorfosis and End of this state differently, are flamenco in essence. They are newcomers
of things, the works of Israel Galvan are always or old accomplices, Andalusians, Arabs or Byzantines.
the end of a certain moment, and at the same time, what Just like Groucho Marx who refused to be a member of
follows. Perhaps, for the master of rhythm, this is a way any club that would consent to accept him, Israel Galvn
to always begin again where he left off. brings together others at liberty and offers an adventure.
This new project follows three experiences. The first Accepting the risks and perils with joy, he is found-
is Torobaka, a duo with Akram Khan, was based upon op- ing a new school where each one becomes his or her own
positions and complementarity Andalusia and India, teacher, where each one becomes the interpreter of his or
the bull (let loose) and the (holy) cow. The second, Solo, her own language, which the others can learn or reject,
sees the artist bare and bold, without any other accompa- whose accents and sounds they can embrace in their own
niment than the ambient sounds of a venue or a town and way whenever they want to. Or not. Whats sure is that each
the nearby public. The third one, FLA. CO. MEN, was set dancer affects and modifies the next. Are we going to see
from its title as a joyous and unrestrained shooting gallery, the burgeoning of a new language? Will it be an incompre-
a shared playing field where you could choose to let loose hensible dialect or a universal Esperanto? Dancing with
an irrepressible virtuosity, or to sit in the dark listening to others affects you, all sorts of things happen to you. When
the neighbours radio. you dance with others, you must give new answers. And start
Here comes another idea, which is about what follows from this point on.
on, neither beginning nor end; neither solitude nor clan.
Rather a trip around Babel, set in an unspecified place, a A shadow play on the outskirts.
place still to be delimited or conquered, where each person Collective, the party Israel Galvn chooses to give is first
tries to speak in a different language. Because here, what and foremost his own, versatile and composite. Besides the
comes after doesnt simply refer to the pulsing continuity guests of flesh and sound, one can glimpse at the almost
of things, but also to those who accept to follow you to an comprehensive catalogue of an artists obsessions, Domin-
Presentation unknown land. Giving a party is always a wish to see people, gun as well as Kafka, Don Quixote or Diego Maradona

HIs party carries the memory of the tourists tablaos where order to obtain or to re-actualize in collective conscience, the
his parents used to dance, polka dot skirts, combs and assent to the recommended order. Which is precisely what
lacquered buns. It also reflects the spontaneous movement Israel Galvn endeavours to do here, once more grasping
of village flamenco traditions, facetious, bawdy, untamed. in an empirical and organic way the essential nature of
It is also the stark and radiant feasts of the Sevillian May, things, spinning the orders of categories and families,
pomp and ominous drums, hooded penitents and sparkling of performance and its usual progress. If we hanged the
virgins. In Seville, holiday feasts are really tragic, arent Andalusian tree upside-down by its Greek and Arab roots,
they?, says Galvn. On Holy Thursday nights in Seville, all what fruits would it bear? If we started with the encore,
lights have been put out, the street is immersed in darkness, would they ask us to come back?
someone passes near and brushes against you, or out of the This natural thing that happens one time. To find a
procession, comes a penitent you dont know. Israel Galvns beginning, one must be able to find an end, and to ascer-
fiesta is also a shadow play on the outskirts of all clarities, tain the point, perhaps it will be necessary to look for the
a willingly monstrous party, Goyesque and fed with ex- counterpoint. Just as every sunbeam creates a shadow,
travagant battles and picaresque adventures. no feast takes is whole without its anti-feast, in a kitchen,
To compose this collective show, Israel Galvn a back alley or a corridor, on the outskirts, behind those
has laid out vanishing points during rehearsals, has left dancing. It is this ring around the star that Galvan wishes
tracks meant to be erased. Rather than a choreography, to remark on here: Not the centre of attention, the core of
grips like rock-climbing reliefs, getaways rather than the singing and the dance and all the noise that goes with
blocking, collective quavers and rests, secret pacts. Just this. It is rather the things that get lost. The hidden gestures.
like the music one tries to reach through the composers A way of sitting down. The people who click their fingers to
paper score, this party looks improvised, but only because the rhythm. Or with the blinking of their eyes. Everything
its been written carefully in advance, with the precise that goes on behind, not just in front. I see energy there and
goal of being forgotten and lived anew, every night, for its that energy that Im trying to find. This natural thing
the first time. that happens one time, and another and another, in a very
ritual and repeated fashion.
The party is what one waits for, Expose what is not on show, build a community where
elegantly wrote Roland Barthes. But lets get back to the each, keeping to himself, becomes the vehicle for a mode
root: what is really a party? This precise point could unleash of revelation, a new way of gaining access to an unknown
hours of philosophizing, fruitful and dusty months could and intuitive truth. What one dreams but doesnt see; what
be spent in libraries, but, ultimately, nothing appears more one senses but doesnt know. Traditionally, things always
efficient nor more subversive than the definition of the finish por fiestas, but, from the start, Israel Galvn pushes
venerable Dictionary of the Acadmie Franaise: The his show in the territory where all things end. Yet again. At
party elaborates around a particular mythical theme and last, the long-awaited derogation to order is proclaimed.
Presentation organizes, if not a disorder, at least derogations to order, in And whats going to happen next?

Its a circle
I wouldnt be exaggerating if I said that I spent and left
my childhood in fiestas. As a child, I wasnt allowed to
play. My father and mothers, dancers, performed as a
duet act in cabarets, tablaos, and other popular show
venues. When came the fin de fiesta, this festive mo-
ment, free and rhythmical, they had me coming on the
stage, I was 4 years old at most. For my parents, it was
like the completion of their duet: they were presenting
their son and displaying the image of a family. And I was joyed half of the things I was living, and the other half
getting much more money than anyone, people were was hurting me. There are other children who had that
throwing banknotes at me. First, there was the show, same childhood, but it seems that Im the only one that
then came the party. kept on dancing as an adult. And I also remember my
Of these parties, I retain the memory of a profound solitude, and it became a habit of mine.
weariness, I always wanted to sleep, but the party never La Fiesta does have its origins in my flamenco world,
stopped. It seemed to stop and then, no, another whisky, in my childhood, but its like returning to something Ive
another dance, and it lasted and lastedI was always on outgrown, as if I had travelled hundreds of kilometres
the get-go, because I knew that at any moment, I could away to come back to point zero. My roots and traditions
be asked to come on stage and perform. I remember are shining through. La Fiesta is something of a remem-
sleeping with my eyes open. At the same time, I was see- brance party, but its todays party, its my party! Maybe it
ing things that other children could not see. I made up has to do with all the playing I did not get to do as a child
my own world. I was intensely observing, perceiving de- and lived in the world of another generation, in the adult
tails, everyday gestures, ways to dress, to laugh, to have world. Now, I have the party that suits me, the party of a
rows. I was creating my own childlike world in this at- man who has matured and allows himself to play like a
mosphere were flamencos, transvestites, ventriloquists child. Its a circle.
and all sorts of artists mingled and did their numbers.
Nowadays, it would be unthinkable to leave a child in
such an environment. I also remember the violence that
prevailed, there were people who were always drinking,
other were fighting, the club owners always had weap-
ons. But, in a certain way, we also had a good time. I en- Israel Galvn

ach one of us, each the offspring of a particular of freedom. On this new horizon, he gives himself to the
mother and father, but at the same time, decomposition of the decomposed. Breaking with what
eachone for all, is ready for a ludic but lucid has already been broken, he wants at last to reveal the
fiesta, the raw food of glances, words, greetings, character, to step forward happily and smile.
dances and rowdiness. The personal depends on the
common andthe common on the personal. Just like an Elosa Cantn.
archipelago, people connected by the very thing that Dan Graham said that when Darcy Lange spoke to him
separates them. about the Cortijo Espartero, the centre of life and cel-
Here are the people who will be on stage, raising the ebration for Diego del Gastor in the town Morn de la
floorboards, singing and dancing: Frontera in the region of Seville, his reference was no
other than to The Factory with Andy Warhol and The
Israel Galvn Velvet Underground. That background rock noise can
In his enthusiasm for sharing, exchanging and renewal, be found in the vibrating body of Elosa Cantn, as she
he submerges himself in a community, in the body of walks the fine line between sound and dance. Songs, vi-
dance. After taming his body to the extreme, he now lets olins and the tapping of shoes, all tangled together. This
it tame him. He opens the door to improvisation, to oth- idea of entangling - rather than mixing, hybridization or
er ways of being on stage, of living the stage, exploring assembling is attractive. Cantn is a dancer, violinist
and offering it. Relinquishing self and all his baggage, and singer, all the while of an underground and alterna-
Presentation he throws himself into the void in an unstoppable search tive nature. Just observe the shadows which fall on the

stage: one of them is moving on its own without a corre- Rama. Leaves fall from the tree and an apple shows us
sponding body. This one was left there by Elosa Cantn. the law of gravity. But there is something about Ramn
that eludes us, like the way in which water on the ground
Emilio Caracaf. is soaked up and disappears. It is a sort of beat, a hu-
What we know about Emilio Caracaf cant possibly do mour that runs below, the condition of the sailor who is
him justice. We would need to have seen him a few years pleased to set foot on solid ground, all the while knowing
ago, around MACBA Art Museum in Barcelona, on The that his fate is a life at sea. What is lost, what escapes, is
Night organized by Paul Preciado and Mquinas de Vivir. what Ramn picks up and gives us here, in a final ges-
Emilio went out to the impatient public, sat down amongst ture, a final touch, on these floorboards. It is a virtue to
them in the street, picked up his guitar and let fly with a be able to gather up what has been lost. An ability of a
seguirya hypnotic and full of strength which would mouse, a thing both a rodent and an IT pointer. An eco-
have silenced both Tyrians and Trojans/all comers. We logical condition.
might remember his Gritos de guerra, his roles in films by
Tony Gatlif or Dominique Abel, or his nude participation Nio de Elche
in Israel Galvn VS los 3000, where he personified his sub- He will be one of the main pillars of the piece. El Nio
urb, the gypsy part of his corner of the city. He is, moreo- is an expert in creating invisible landscapes with his
ver, the visible face of Alal, the social work group work- voice and guitar. In spite of his profound knowledge of
ing for the most deprived in the Polgono Sur in Seville. the formal structures of flamenco and knowing how to
interpret them with virtuosity, he tends to explore sound
El Junco and so doing open unexpected doors and travel far from
He is a traditional flamenco bailaor, and from Cadiz, established patterns. Maybe his flamenco would not ever
with some peculiarities, some more hidden and oth- be called pure, but his presence and way of addressing
ers less so. He is also a pianist, cantaor, percussionist, the art of flamenco is of immeasurable purity. The path
palmero, and if that were not enough, basketball player, we are drawing with him is principally about the meticu-
as he is almost two meters in height. He has gracia. He lous refinement of intention and the state from which he
has a wonderful sense of humor and enough maturity to throws out his voice.
take on new challenges and integrate different ways to
understand dance and the stage. In Cadiz having gracia Alejandro Rojas-Marcos
is a way of being in the world, of being charming, in a One day, we discovered that Alejandro could speak Ger-
good mood and greeting events with a hilarious laugh. man, and the severity of his piano has since been cou-
pled to the rigors of contemporary music. One thinks of a
Ramn Martnez musician performing Messiaen, Ligeti or Lachenmann,
There is something elusive about Ramn. He is a bailaor but also of one these piano players always dozing off, un-
Presentation from Malaga who has won many prizes, the son of Mara til the party and the tips wake him up and force him to go

back, gleefully, to his keyboard. One thinks of these two herself some kind of latent mischief as if she suddenly
things: the gait of a Buster Keaton who would raise the were seized by flights of surreal humour. Her life tied to
keys of his instrument to mystical and playful dimen- her gypsy culture, in tension with the present moment
sions, yes, both at once. A gag master, in the compre- of impulse towards to the unknown, gives us a powerful-
hensive mean of the term, when choking and laughing ly rebellious, yet innocent expression mixed with an air
become one same thing, where an aphorism by Wittgen- of tragicomedy. She is a true example of a gypsy woman
stein meets a blasphemy by Buuel. one free, savage and wise all at the same time.

Alia Sellami Byzantine Ensemble Polytropon

She was born in Paris and grew up in Tunisia. This ex-
Panagiotis Andriopoulos (musical director)
plains her delicate qualities. We might just think of her
Roni Bou Saba
voice and her fine ear: Arab and lyrical music, jazz, con-
Charalampos Kalapanidas
temporary music and dance and now flamenco. Does a
Dimitrios Karadimas
voice become flamenco just because it is fusing with fla-
menco voices? Undoubtedly there is no other precondi- From the polyvalence of the tools that Men, according to
tion. She grew up in Tunisia and we can see how she has Homer, have forged to face the fate of Gods, comes the
developed each one of her vocal cords, how the sunlight name of this choir of Byzantine voices, this Greek choir,
has dazzled them and how the clouded sky makes them our choir. Truly, within the substrate of flamenco, the
vibrate in the wind, marking time to the murmuring of Phrygian or minor scale, the Byzantine tones and timbres
the sea waves, a hidden rumour. There is a quality of have always found their place. For us, these resonances
sand here. We could never have believed that the earth make the voices sound natural, close to our world and
could be so fine and sound like this. But yes, we can our scales, they are exactly the same thing as well as the
think of the fine grains in an hour glass, or of a clepsydra. opposite of what our party sounds like. We met while
preparing the Kassel Documenta and, right from the
Uchi start, their voices grafted on the voices of the party. That
She is an expert in simply being herself. Her part in all said, they are not the party but its Other, yourselves, us,
these bridges both being a grandmother to all of us and those who are here, those who are there. All of us.
also being an innocent girl, curious and open to anything
that crosses her path. Her body is as enormous as her
heart and her goodness. A pure bred gitana, she neither
sings nor dances, she is simply there. She is in her entire-
ty dance, song and rhythm. Uchi is art itself. All of her
gestures, glances and words are art. In the midst of the
Presentation jaleo and palmas, she creates the party herself. She is in

I wish I could become to art, I knew no literature, had no movie culture, knew

another and I really nothing of visual arts, but I had dance. When I met [my
dramaturge]Pedro G. Romero, I considered him a master.
dont want the others I did not go to college, but after hanging out with him for
two years, I felt as if I had studied visual arts. Im speak-
to become like me. ing of a time where I had no job to speak of, and, for that
matter, neither did he. We spent our days drinking beer
and eating tapas, discussing movies, films and books.
Im very interested with what many artists do with fla- I did become quite fat. He introduced me to a score of
menco and not solely dancers and musicians , how artworks, became my fundamental discussion part-
they see it. This is something that, while being and feel- ner because we spoke the same language. Around that
ing very flamenco, might annoy some of the aficionados. time, I became aware a number of things, and I started
But these ideas are useful to me, I know how to read to make art with my dance, and people started to say it
them, and when I use them for a performance, nobody wasnt flamenco. My relationship to dance is accidental:
doubts that they are flamenco. I think I am on this road my parents put me to it, and I eventually found I had an
where one doesnt stop to distinguish between the new artistic sensibility. Dance is my tool and my filter, my ally
and the old, the cutting-edge and the pure. to approach art. Art allows you to distance yourself from
Flamenco is not a competition, it is not a brand that the real world while forcing you to maintain a connexion
divides people into groups you belong and you dont. with it, otherwise, you cannot pass on your madness. To
Flamenco is an attitude. It is a way of adding rhythm and me, everyday life is very boring. Art gives you a possibili-
beat, yes, but also a way of being. And with progressive ty to get out the mundane while keeping an eye on it.
professionalization we are forgetting about this. It is
not about repeating our old ways or stereotypes. A lot
of people get lost in trying to seem more flamenquito.
It is a way of being, it is gesture and an understanding
of movement. Some female contemporary dancers have
this quality. You see them walk, sit and talk, you think
to yourself They are so Flamencas! Dancing doesnt
just happen at the moment when you get up to dance.
Dance must also be allowed to breathe, have its resting
moments, its pedestrian times.
I was forced to dance from a very early age, and
when I got to a point where I wished to devote myself Israel Galvn
THE STRUCTURE you. All flesh with cavities. Its a strange thing. The one
and the many. One body composed of everyones limbs.
OFTHE BUILDING In the upside-down world from the fiesta, it is man who
ISBEST SEEN WHEN loads up the donkey, but here both man and donkey are
brothers, they have split in parts and in coming together
ITS ON FIRE again, have mixed up their limbs, large ears in the stead
Pedro G. Romero of a muzzle, feet and no hoofs, braying and words entan-
gled, and it might be that this party is truly an asss idea.

But let us not deceive ourselves. The fiesta is really
nd it turns out that there is an idea of some- life itself. As well as war as. Combat. Scenes from a bat-
thing in common, of something collective, tle. You need only to observe how those in our fiesta con-
of how individual names disappear in the front their space. What can a few bodies on the stage of
delight of the fiesta. And that here no one a theatre rebel against? Against the very floor, against
is who he seems to be and what each person loses the gravity. Architecture is pure dictatorship. So they turn it
fiesta gains by. We could say that the fiesta is a type of upside down because space, the material, also oppress-
communism, sui generis, as the old flamenco artists es them. The structure of a building is best seen when
used to say: Communism means that were all going to its on fire. Caprice and revolutionary exhortation mix
eat,right? together to no point. It is a fiesta and also a war against
space and time. Life itself.
A ferocious quality.
This is what dancing with others has, bodies coming Devoured by the party.
close, fusing together, so much so that they dissolve one We are not dealing here with dance, but rather with a
into the other, in an orgiastic movement. How can one specialized language. We can think of all the codified
body dissolve into another but at the same time preserve languages, contemporary dance, classical Spanish, per-
its singularity? Here, it seems that Israel Galvn has di- formance, whatever. What we see here is the jargon, the
vided himself, bipartition, germination, or what you will, argot that these nine have created out of their revelry. A
but his body is spread all over the stage, and all over the fiesta of language as well. Each movement, each step, is
other bodies. This is a ferocious quality: the flamenco fi- an event and a text at the same time. That`s why words
esta is as Apollonian as it is Dionysian. Ca uno es ca uno. are slurred, sounds are guttural, there are onomatopoe-
Each person is unique. And that is why they can merge, ias, fragments of songs, of fumbled English, French and
fit into the puzzle, collaborate, help each other. You dont German. There is much parodying of the world of mod-
have a belly? I will supply it. Take my ass, see how it ern dance and of contemporary art, in the sense of deep
moves! Your arms, legs or hearing arent enough for you: knowledge that Giorgio Agamben bestows on parody,
Presentation so here are mine. I can tear out my eyes and give them to but yes, we do the same for a laugh, both to pay a trib-

ute and point a finger at what is wrong. An absolute gag. the mood the lamento is sung. Oh, what a misfortune to
Each person seems to be saying something, as if he were have been born! What was instinctively grasped again,
talking, communicating, but saying nothing. The back- to paraphrase Rosset is the deep bound between joie de
ground sound to a silent film. Language reduced to its vivre and the tragic feeling of life. I think, among other
musical expression. things, of Andalusian folklore, of flamenco and its pro-
And music is fundamental to this fiesta. You could found singing, which links sheer joy with an intimate
attend the entire performance, keep your eyes closed and constant awareness of death. That the intensity of
and you would still enjoy it. As in the shaggy old Spanish joy is in direct proportion with the cruelty of knowledge,
pun espectculo como especta culos (get ready for asses!) is, without a doubt, a generally acknowledged truth.
Hearing is favoured over vision. Its a sensitive decision,
almost a political measure. The bodies must remain blind
so as to be devoured by the fiesta. Each one sinks into the
creviced floor, all are lost down there. Light broken up by
sounds. Sometimes we might think that Nietzsche was
right, and that only in flamenco, in this African music,
are we able to face the totality, the fascinating totalitar-
ianism of music and come out alive and unscathed. Such
things! Hatred and love of life at the same time!

Joie de vivre and tragical feeling.

There once existed a medieval feast called the Easter
Laughter during which the priest or officiant had to tear
the faithful away from the anguish of the death of Christ,
and change their spirits come Resurrection Sunday. By
means of fornication, of animalism and other carnival
performances, he was to bring back joy amongst the pen-
itents. There is, within La Fiesta, a liturgical background
reminiscent of this. As was the case in Cabaret Voltaire,
where Hugo Ball served as officiant bishop, when Dada-
ists vowed to bring some joy amidst the disaster of world
war; the legend says Vicente Escudero danced on this
Clment Rosset reminds us of the flamenca party
Presentation that concludes Astrix in Spain and with what pleasant

Credits Touring team: Supports:

CREDITS Show title : La Fiesta

Approximate duration : 90 minutes
without intermission
Technical direction: Pablo Pujol
Lighting: Rubn Camacho
Sound: Pedro Len
Agencia Andaluza de Instituciones
Culturales - Consejera de Cultura -
Junta de Andaluca,
Stage manager: Balbina Parra INAEM - Ministerio de Educacin,
Creative team: Road manager: Amparo Hernndez Cultura y Deporte Espaa
Conception, artistic direction and Instituto Andaluz del Flamenco
choreography: Israel Galvn Production A Negro With the help of Grec Festival de
Dramaturgical apparatus: Pedro G. Producciones: Barcelona, Temporada Alta - Festival
Romero Producer: Cisco Casado de Tardor de Catalunya. Girona-Salt
Lighting design : Carlos Marquerie Production consultant: and Aichi Prefectural Arts Theater
Musical co-direction: Israel Galvn DietrichGrosse Israel Galvn is an associate artist of
and Nio de Elche Production assistant: Thtre de la Ville Paris
Staging collaboration: Patricia AmparoHernndez
Caballero, Carlos Marquerie Administrative assistant:
Staging assistant: Balbina Parra RosarioGallardo
Stage design: Pablo Pujol Communication: Jaime Quintero
Sound design: Pedro Len
Costume: Peggy Housset Coproducers:
Artistic coordination: Carole Fierz Festspielhaus St. Plten (inkl.
Artist Residency), Thtre de la
Cast: Ville/La Villette Paris, Festival
Israel Galvn dAvignon, Thtre de Nmes
Eloisa Cantn scne conventione pour la danse
Emilio Caracaf contemporaine, Sadlers Wells
El Junco London, Movimentos Festwochen der
Ramn Martnez Autostadt in Wolfsburg, MA scne
Nio de Elche nationale Pays de Montbliard, Les
Alejandro Rojas-Marcos Thtres de la Ville de Luxembourg,
Uchi Thtre De lArchipel scne
With the collaboration of the nationale de Perpignan, LOnde
Byzantine Ensemble Polytropon Thtre et Centre dart de Vlizy-
(Musical director: Panagiotis Villacoublay, Teatro Central de Sevilla
Andriopoulos / Singers: Panagiotis
Andriopoulos, Charalampos
Kalapanidas, Roni Bou Saba &
Dimitrios Karadimas)

3 14 April 2017 11 & 12 January 2018
rehearsals on stage in Teatro Central, Sevilla Les Thtres de la Ville de Luxembourg
Luxembourg premiere

24 April 5 May 2017
rehearsals on stage in Festspielhaus, St Plten 19 & 20 January 2018
Thtre de Nmes, Festival Flamenco (France)

2017-2018 6 May 2017

Festpielhaus St. Plten, Austria 7 February 2018
World premiere Opera Berlioz, Le Corum, Montpellier (France)

10 13 May 2017 22 & 23 March 2018

Movimentos (4 performances) Thtre de lArchipel - Perpignan (France)
Festwochen der Autostadt in Wolfsburg
German premiere 4 & 5 May 2018,
Teatros del Canal (Sala Roja) Madrid (Spain)
4 & 5 July 2017
Festival Grec, Barcelona 15 May 2018
Spanish premiere LOnde Thtre - Velizy-Villacoublay (France)

16 23 July 2017 18 & 19 May 2018

Festival dAvignon (7 performances) Teatro Central, Sevilla (Spain)
French premiere
2 June 2018
29 July 2017 Thtre du Beauvaisis, Beauvais (France)
Sagunt a escena - Festival dEstiu (Spain)
6 13 June 2018
21 December 2017 Thtre de la Ville / La Villette Paris (6 performances)
MA scne nationale Montbliard (France) Paris premiere


Production, international booking and management:
A Negro Producciones Cisco Casado
+34 95 418 78 66
Manufactura 2 1 I - Polgono P.I.S.A.
41927-MAIRENA DEL ALJARAFE - Sevilla - Spain /

International booking
(in collaboration with A Negro Producciones):
Mondigromax Dietrich Grosse
+34 93 454 18 19
Carme 3, tico 1
08001 BARCELONA - Spain

Artistic coordination:
Carole Fierz
+33 (0)6 80 61 94 15

WEB and press:

Jaime Quintero
+34 625 78 91 24



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