Miradas is a street performance and unconventional spaces for all audiences, with a fusion of urban dance languages, break dance with contemporary dance.
Duration: 30 minutes
Premiere at the 19 Castilla y León Theater Fair, Ciudad Rodrigo, August 26, 2016
Direction and choreography Alicia Soto
Most relevant functions:
November 12 and 13, 2016 13th Guandong Dance Festival, China
October 23, 2016 “Les Recontres Choréographis de Casablanca”, Morocco
October 15, 2016 Xixón Dance
"Eyes that meet in the distance,
in an instant,
the time stops,
the rumor remains mute and the words are on that frequency that only the soul understands. This is how a story begins."
Eyes meet, in all those places where we are, we become spectators, or we are protagonists.
All the moments of our life pass through the look, the eyes of the other.
We live in a moment where the gaze is the key to many of the things that happen to us and our gaze is our greatest catalyst.
It is our best and most developed sense, without it at this moment we would be lost, coming to live and desire only through the look.
This gaze becomes in many cases a place of desire for the alien.
Study 3: Looks, raises a story that has happened to all of us, and as despite what you are, that look leads you to meet the other, without further ado, by the force that it exerts.
Artistic Direction and Choreography: Alicia Soto
Dancers-Performers: Julián Gómez Pavón, Alicia Soto
Musical Creation: Luis la Forga
Video and photography: Luis Antonio Barajas
Creative design: José Navarro
Communication: Virginia Grigelmo
Administration: Sofía García Fernández
Management: João Sousa Marques
Costumes: Alicia Soto – Hojarasca
Cartography of the body in an architectural space
Architecture as inspiration for the semiotics of the body.
As a starting point, the impact on the retina of an architectural, urban or natural design. The architectural definition of a space, lines, angles, curves that remain alive over time.
Stories of the past and present, the moment: lives, people and events that float in another dimension. An invisible but present dimension that can be felt... on the body, there, present.
The body in that architectural space. The cartography of movement will be defined by an emotion and the emotion discovers and describes a path where the soul emerges and connects to a cartography that runs through body space and space as if in a dimension of nothingness.
A nothingness full of meanings because it is inhabited by stories, stories that impact the soul, feeding back the walk through the cartography of the body, whose connection element to reality is the public and the space inhabited by people, in real time.
In this definition of the cartography of the body by an architectural space, the public intervenes directly. Creating an interrelation between the body, the architectural space and the public. So that visual impact of the architectural space becomes the communicative thread between the body and the public, first from the semiotics of the body to the verb.
The public and the time, the wait. Just the action of being and watching how time passes, like in a sunrise, in an urban space or landscape.
And from improvisation the exploration of something new that happens absolutely unpredictable and unrepeatable for the public and the body.
“What is it that in us dreams what we dream. Perhaps dreams are memories that the soul has of the body.
(José Saramago, The Gospel according to Jesus Christ).
"Cartography of the body in an architecture" is a scenic work based on a unique and unrepeatable experience between the public and the artist, within an emblematic natural or urban architectural framework.
This experimental work is created from a dialogue between the body, the architectural space and the public, accompanied by a sound, according to each place and experience.
And in each experience, as trust grows, more scenic elements that are appropriate and necessary for each architectural space will intervene, becoming an installation.
This project that the artist tackles, after 20 years of experience, is based on the pillars of her choreographic creation processes:
Improvisation, the importance of space, its architecture, the public and the image.
The image, drawing a map with all the cartographies through the lens of a photographer:
In each cartography there will be a photographic testimony, a work of connection between the image and the body and the architectural space.
Inviting for each experience a photographer to testify and capture with his objective, moments, details, sighs and emotions of each one of the experiences.
Building at the end a route, a line of union between all the territories creating a global map of all the cartographies of the body in an architecture. Remaining reflected in a catalogue.
And creating, who knows, a show that needs the passage of time.
Map of Cartographies:
The Territory Tour begins in Valladolid, to continue in Digne-les-Bains (France) and ends in Lisbon, but along the way other territories will appear where other cartographies of the body can be developed in an architectural, natural or urban space.
Cartography of the body in an architectural space, Valladolid Territory:
This first cycle of mapping the body will be experiences with the public of Valladolid and is divided into two cycles:
Stage architecture: “Studio 1: Nocturne”. Hall of Mirrors, Calderón Theater.
Scenic development and staging in artistic residency:
Each cartography will mean the creation of a different staging, built in each space in situ, which will mean carrying out work prior to the presentations in an artist residency work.
Investigating and creating, giving shape, as in a painting, to each element where it prevails:
The Sound Composition.
Light and color, from where and to where.
Strengthen each scenographic element that the space has.
…And the body.
Each Cartography will be unique and unrepeatable.
With the collaboration of the Teatro Calderón.
So far there are no new sessions planned