LA

FIESTA
20 17 18
Israel
Galvn

Aliaksandra Kononchenko
Presentation
CONTENT

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
ahandkerchief
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
ISRAEL GALVN,
of Creation
To produce my foot, THE END AND WHAT
my each feather: FOLLOWS
Now I hold Creation Lola Gruber
C
in my foot
Ted Hughes Hawk Roosting
an one ever begin at the end? To do so it would
be necessary to be able to say when the end had
begun. Like Metamorfosis and End of this state
of things, the works of Israel Galvan are always
the end of a certain moment, and at the same time, what
follows. Perhaps, for the master of rhythm, this is a way
to always begin again where he left off.
This new project follows three experiences. The first
is Torobaka, a duo with Akram Khan, was based upon op-
positions and complementarity Andalusia and India,
the bull (let loose) and the (holy) cow. The second, Solo,
sees the artist bare and bold, without any other accompa-
niment than the ambient sounds of a venue or a town and
the nearby public. The third one, FLA. CO. MEN, was set
from its title as a joyous and unrestrained shooting gallery,
a shared playing field where you could choose to let loose
an irrepressible virtuosity, or to sit in the dark listening to
the neighbours radio.
Here comes another idea, which is about what follows
on, neither beginning nor end; neither solitude nor clan.
Rather a trip around Babel, set in an unspecified place, a
place still to be delimited or conquered, where each person
tries to speak in a different language. Because here, what
comes after doesnt simply refer to the pulsing continuity
of things, but also to those who accept to follow you to an
Presentation unknown land. Giving a party is always a wish to see people,
4
it remains the occasion and mean to find a company. And
from then on, all becomes possible
Dancing with others affects you.
Bringing together around him this company of atyp-
ical dancers and musicians, Israel Galvn eschews the
codified and uniform movement that is the essence of
ballet. Neither has he chosen untried, malleable dancers
to teach his own choreographic idea. Some of them come
from the world of flamenco, others, trained elsewhere and
differently, are flamenco in essence. They are newcomers
or old accomplices, Andalusians, Arabs or Byzantines.
Just like Groucho Marx who refused to be a member of
any club that would consent to accept him, Israel Galvn
brings together others at liberty and offers an adventure.
Accepting the risks and perils with joy, he is found-
ing a new school where each one becomes his or her own
teacher, where each one becomes the interpreter of his or
her own language, which the others can learn or reject,
whose accents and sounds they can embrace in their own
way whenever they want to. Or not. Whats sure is that each
dancer affects and modifies the next. Are we going to see
the burgeoning of a new language? Will it be an incompre-
hensible dialect or a universal Esperanto? Dancing with
others affects you, all sorts of things happen to you. When
you dance with others, you must give new answers. And start
from this point on.
A shadow play on the outskirts.
Collective, the party Israel Galvn chooses to give is first
and foremost his own, versatile and composite. Besides the
guests of flesh and sound, one can glimpse at the almost
comprehensive catalogue of an artists obsessions, Domin-
gun as well as Kafka, Don Quixote or Diego Maradona
 HIs party carries the memory of the tourists tablaos where
his parents used to dance, polka dot skirts, combs and
lacquered buns. It also reflects the spontaneous movement
of village flamenco traditions, facetious, bawdy, untamed.
It is also the stark and radiant feasts of the Sevillian May,
pomp and ominous drums, hooded penitents and sparkling
virgins. In Seville, holiday feasts are really tragic, arent
they?, says Galvn. On Holy Thursday nights in Seville, all
lights have been put out, the street is immersed in darkness,
someone passes near and brushes against you, or out of the
procession, comes a penitent you dont know. Israel Galvns
fiesta is also a shadow play on the outskirts of all clarities,
a willingly monstrous party, Goyesque and fed with ex-
travagant battles and picaresque adventures.
To compose this collective show, Israel Galvn
has laid out vanishing points during rehearsals, has left
tracks meant to be erased. Rather than a choreography,
grips like rock-climbing reliefs, getaways rather than
blocking, collective quavers and rests, secret pacts. Just
like the music one tries to reach through the composers
paper score, this party looks improvised, but only because
its been written carefully in advance, with the precise
goal of being forgotten and lived anew, every night, for
the first time.
The party is what one waits for,
elegantly wrote Roland Barthes. But lets get back to the
root: what is really a party? This precise point could unleash
hours of philosophizing, fruitful and dusty months could
be spent in libraries, but, ultimately, nothing appears more
efficient nor more subversive than the definition of the
venerable Dictionary of the Acadmie Franaise: The
party elaborates around a particular mythical theme and
Presentation organizes, if not a disorder, at least derogations to order, in
5
order to obtain or to re-actualize in collective conscience, the
assent to the recommended order. Which is precisely what
Israel Galvn endeavours to do here, once more grasping
in an empirical and organic way the essential nature of
things, spinning the orders of categories and families,
of performance and its usual progress. If we hanged the
Andalusian tree upside-down by its Greek and Arab roots,
what fruits would it bear? If we started with the encore,
would they ask us to come back?
This natural thing that happens one time. To find a
beginning, one must be able to find an end, and to ascer-
tain the point, perhaps it will be necessary to look for the
counterpoint. Just as every sunbeam creates a shadow,
no feast takes is whole without its anti-feast, in a kitchen,
a back alley or a corridor, on the outskirts, behind those
dancing. It is this ring around the star that Galvan wishes
to remark on here: Not the centre of attention, the core of
the singing and the dance and all the noise that goes with
this. It is rather the things that get lost. The hidden gestures.
A way of sitting down. The people who click their fingers to
the rhythm. Or with the blinking of their eyes. Everything
that goes on behind, not just in front. I see energy there and
its that energy that Im trying to find. This natural thing
that happens one time, and another and another, in a very
ritual and repeated fashion.
Expose what is not on show, build a community where
each, keeping to himself, becomes the vehicle for a mode
of revelation, a new way of gaining access to an unknown
and intuitive truth. What one dreams but doesnt see; what
one senses but doesnt know. Traditionally, things always
finish por fiestas, but, from the start, Israel Galvn pushes
his show in the territory where all things end. Yet again. At
last, the long-awaited derogation to order is proclaimed.
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
THOSE
WHO TAKE
PART IN
THIS
FIESTA
E
ach one of us, each the offspring of a particular
mother and father, but at the same time,
eachone for all, is ready for a ludic but lucid
fiesta, the raw food of glances, words, greetings,
dances and rowdiness. The personal depends on the
common andthe common on the personal. Just like an
archipelago, people connected by the very thing that
separates them.
Here are the people who will be on stage, raising the
floorboards, singing and dancing:
Israel Galvn
In his enthusiasm for sharing, exchanging and renewal,
he submerges himself in a community, in the body of
dance. After taming his body to the extreme, he now lets
it tame him. He opens the door to improvisation, to oth-
er ways of being on stage, of living the stage, exploring
and offering it. Relinquishing self and all his baggage,
Presentation he throws himself into the void in an unstoppable search
7
of freedom. On this new horizon, he gives himself to the
decomposition of the decomposed. Breaking with what
has already been broken, he wants at last to reveal the
character, to step forward happily and smile.
Elosa Cantn.
Dan Graham said that when Darcy Lange spoke to him
about the Cortijo Espartero, the centre of life and cel-
ebration for Diego del Gastor in the town Morn de la
Frontera in the region of Seville, his reference was no
other than to The Factory with Andy Warhol and The
Velvet Underground. That background rock noise can
be found in the vibrating body of Elosa Cantn, as she
walks the fine line between sound and dance. Songs, vi-
olins and the tapping of shoes, all tangled together. This
idea of entangling - rather than mixing, hybridization or
assembling is attractive. Cantn is a dancer, violinist
and singer, all the while of an underground and alterna-
tive nature. Just observe the shadows which fall on the
 stage: one of them is moving on its own without a corre-
sponding body. This one was left there by Elosa Cantn.
Emilio Caracaf.
What we know about Emilio Caracaf cant possibly do
him justice. We would need to have seen him a few years
ago, around MACBA Art Museum in Barcelona, on The
Night organized by Paul Preciado and Mquinas de Vivir.
Emilio went out to the impatient public, sat down amongst
them in the street, picked up his guitar and let fly with a
seguirya hypnotic and full of strength which would
have silenced both Tyrians and Trojans/all comers. We
might remember his Gritos de guerra, his roles in films by
Tony Gatlif or Dominique Abel, or his nude participation
in Israel Galvn VS los 3000, where he personified his sub-
urb, the gypsy part of his corner of the city. He is, moreo-
ver, the visible face of Alal, the social work group work-
ing for the most deprived in the Polgono Sur in Seville.
El Junco
He is a traditional flamenco bailaor, and from Cadiz,
with some peculiarities, some more hidden and oth-
ers less so. He is also a pianist, cantaor, percussionist,
palmero, and if that were not enough, basketball player,
as he is almost two meters in height. He has gracia. He
has a wonderful sense of humor and enough maturity to
take on new challenges and integrate different ways to
understand dance and the stage. In Cadiz having gracia
is a way of being in the world, of being charming, in a
good mood and greeting events with a hilarious laugh.
Ramn Martnez
There is something elusive about Ramn. He is a bailaor
Presentation from Malaga who has won many prizes, the son of Mara
8
Rama. Leaves fall from the tree and an apple shows us
the law of gravity. But there is something about Ramn
that eludes us, like the way in which water on the ground
is soaked up and disappears. It is a sort of beat, a hu-
mour that runs below, the condition of the sailor who is
pleased to set foot on solid ground, all the while knowing
that his fate is a life at sea. What is lost, what escapes, is
what Ramn picks up and gives us here, in a final ges-
ture, a final touch, on these floorboards. It is a virtue to
be able to gather up what has been lost. An ability of a
mouse, a thing both a rodent and an IT pointer. An eco-
logical condition.
Nio de Elche
He will be one of the main pillars of the piece. El Nio
is an expert in creating invisible landscapes with his
voice and guitar. In spite of his profound knowledge of
the formal structures of flamenco and knowing how to
interpret them with virtuosity, he tends to explore sound
and so doing open unexpected doors and travel far from
established patterns. Maybe his flamenco would not ever
be called pure, but his presence and way of addressing
the art of flamenco is of immeasurable purity. The path
we are drawing with him is principally about the meticu-
lous refinement of intention and the state from which he
throws out his voice.
Alejandro Rojas-Marcos
One day, we discovered that Alejandro could speak Ger-
man, and the severity of his piano has since been cou-
pled to the rigors of contemporary music. One thinks of a
musician performing Messiaen, Ligeti or Lachenmann,
but also of one these piano players always dozing off, un-
til the party and the tips wake him up and force him to go
 back, gleefully, to his keyboard. One thinks of these two
things: the gait of a Buster Keaton who would raise the
keys of his instrument to mystical and playful dimen-
sions, yes, both at once. A gag master, in the compre-
hensive mean of the term, when choking and laughing
become one same thing, where an aphorism by Wittgen-
stein meets a blasphemy by Buuel.
Alia Sellami
She was born in Paris and grew up in Tunisia. This ex-
plains her delicate qualities. We might just think of her
voice and her fine ear: Arab and lyrical music, jazz, con-
temporary music and dance and now flamenco. Does a
voice become flamenco just because it is fusing with fla-
menco voices? Undoubtedly there is no other precondi-
tion. She grew up in Tunisia and we can see how she has
developed each one of her vocal cords, how the sunlight
has dazzled them and how the clouded sky makes them
vibrate in the wind, marking time to the murmuring of
the sea waves, a hidden rumour. There is a quality of
sand here. We could never have believed that the earth
could be so fine and sound like this. But yes, we can
think of the fine grains in an hour glass, or of a clepsydra.
Uchi
She is an expert in simply being herself. Her part in all
these bridges both being a grandmother to all of us and
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
9
herself some kind of latent mischief as if she suddenly
were seized by flights of surreal humour. Her life tied to
her gypsy culture, in tension with the present moment
of impulse towards to the unknown, gives us a powerful-
ly rebellious, yet innocent expression mixed with an air
of tragicomedy. She is a true example of a gypsy woman
one free, savage and wise all at the same time.
Byzantine Ensemble Polytropon
Panagiotis Andriopoulos (musical director)
Roni Bou Saba
Charalampos Kalapanidas
Dimitrios Karadimas
From the polyvalence of the tools that Men, according to
Homer, have forged to face the fate of Gods, comes the
name of this choir of Byzantine voices, this Greek choir,
our choir. Truly, within the substrate of flamenco, the
Phrygian or minor scale, the Byzantine tones and timbres
have always found their place. For us, these resonances
make the voices sound natural, close to our world and
our scales, they are exactly the same thing as well as the
opposite of what our party sounds like. We met while
preparing the Kassel Documenta and, right from the
start, their voices grafted on the voices of the party. That
said, they are not the party but its Other, yourselves, us,
those who are here, those who are there. All of us.
10
I wish I could become
another and I really
dont want the others
to become like me.
Im very interested with what many artists do with fla-
menco and not solely dancers and musicians , how
they see it. This is something that, while being and feel-
ing very flamenco, might annoy some of the aficionados.
But these ideas are useful to me, I know how to read
them, and when I use them for a performance, nobody
doubts that they are flamenco. I think I am on this road
where one doesnt stop to distinguish between the new
and the old, the cutting-edge and the pure.
Flamenco is not a competition, it is not a brand that
divides people into groups you belong and you dont.
Flamenco is an attitude. It is a way of adding rhythm and
beat, yes, but also a way of being. And with progressive
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
to art, I knew no literature, had no movie culture, knew
nothing of visual arts, but I had dance. When I met [my
dramaturge]Pedro G. Romero, I considered him a master.
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-
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.
I did become quite fat. He introduced me to a score of
artworks, became my fundamental discussion part-
ner because we spoke the same language. Around that
time, I became aware a number of things, and I started
to make art with my dance, and people started to say it
wasnt flamenco. My relationship to dance is accidental:
my parents put me to it, and I eventually found I had an
artistic sensibility. Dance is my tool and my filter, my ally
to approach art. Art allows you to distance yourself from
the real world while forcing you to maintain a connexion
with it, otherwise, you cannot pass on your madness. To
me, everyday life is very boring. Art gives you a possibili-
ty to get out the mundane while keeping an eye on it.
Israel Galvn
 THE STRUCTURE
OFTHE BUILDING
ISBEST SEEN WHEN
ITS ON FIRE
Pedro G. Romero
A
nd it turns out that there is an idea of some-
thing in common, of something collective,
of how individual names disappear in the
delight of the fiesta. And that here no one
is who he seems to be and what each person loses the
fiesta gains by. We could say that the fiesta is a type of
communism, sui generis, as the old flamenco artists
used to say: Communism means that were all going to
eat,right?
A ferocious quality.
This is what dancing with others has, bodies coming
close, fusing together, so much so that they dissolve one
into the other, in an orgiastic movement. How can one
body dissolve into another but at the same time preserve
its singularity? Here, it seems that Israel Galvn has di-
vided himself, bipartition, germination, or what you will,
but his body is spread all over the stage, and all over the
other bodies. This is a ferocious quality: the flamenco fi-
esta is as Apollonian as it is Dionysian. Ca uno es ca uno.
Each person is unique. And that is why they can merge,
fit into the puzzle, collaborate, help each other. You dont
have a belly? I will supply it. Take my ass, see how it
moves! Your arms, legs or hearing arent enough for you:
Presentation so here are mine. I can tear out my eyes and give them to
12
you. All flesh with cavities. Its a strange thing. The one
and the many. One body composed of everyones limbs.
In the upside-down world from the fiesta, it is man who
loads up the donkey, but here both man and donkey are
brothers, they have split in parts and in coming together
again, have mixed up their limbs, large ears in the stead
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
life itself. As well as war as. Combat. Scenes from a bat-
tle. You need only to observe how those in our fiesta con-
front their space. What can a few bodies on the stage of
a theatre rebel against? Against the very floor, against
gravity. Architecture is pure dictatorship. So they turn it
upside down because space, the material, also oppress-
es them. The structure of a building is best seen when
its on fire. Caprice and revolutionary exhortation mix
together to no point. It is a fiesta and also a war against
space and time. Life itself.
Devoured by the party.
We are not dealing here with dance, but rather with a
specialized language. We can think of all the codified
languages, contemporary dance, classical Spanish, per-
formance, whatever. What we see here is the jargon, the
argot that these nine have created out of their revelry. A
fiesta of language as well. Each movement, each step, is
an event and a text at the same time. That`s why words
are slurred, sounds are guttural, there are onomatopoe-
ias, fragments of songs, of fumbled English, French and
German. There is much parodying of the world of mod-
ern dance and of contemporary art, in the sense of deep
knowledge that Giorgio Agamben bestows on parody,
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
occasion.
Clment Rosset reminds us of the flamenca party
Presentation that concludes Astrix in Spain and with what pleasant

13
 Credits
CREDITS Show title : La Fiesta
Approximate duration : 90 minutes
without intermission
Creative team:
Conception, artistic direction and
choreography: Israel Galvn
Dramaturgical apparatus: Pedro G.
Romero
Lighting design : Carlos Marquerie
Musical co-direction: Israel Galvn
and Nio de Elche
Staging collaboration: Patricia
Caballero, Carlos Marquerie
Staging assistant: Balbina Parra
Stage design: Pablo Pujol
Sound design: Pedro Len
Costume: Peggy Housset
Artistic coordination: Carole Fierz Festspielhaus St. Plten (inkl.
Cast:
Israel Galvn
Eloisa Cantn
Emilio Caracaf
El Junco
Ramn Martnez
Nio de Elche
Alejandro Rojas-Marcos
Uchi
With the collaboration of the
Byzantine Ensemble Polytropon
(Musical director: Panagiotis
Andriopoulos / Singers: Panagiotis
Andriopoulos, Charalampos
Kalapanidas, Roni Bou Saba &
Dimitrios Karadimas)
Presentation
14
Touring team: Supports:
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,
Road manager: Amparo Hernndez Cultura y Deporte Espaa
Instituto Andaluz del Flamenco
Production A Negro With the help of Grec Festival de
Producciones: Barcelona, Temporada Alta - Festival
Producer: Cisco Casado de Tardor de Catalunya. Girona-Salt
Production consultant: and Aichi Prefectural Arts Theater
DietrichGrosse Israel Galvn is an associate artist of
Production assistant: Thtre de la Ville Paris
AmparoHernndez
Administrative assistant:
RosarioGallardo
Communication: Jaime Quintero
Coproducers:
Artist Residency), Thtre de la
Ville/La Villette Paris, Festival
dAvignon, Thtre de Nmes
scne conventione pour la danse
contemporaine, Sadlers Wells
London, Movimentos Festwochen der
Autostadt in Wolfsburg, MA scne
nationale Pays de Montbliard, Les
Thtres de la Ville de Luxembourg,
Thtre De lArchipel scne
nationale de Perpignan, LOnde
Thtre et Centre dart de Vlizy-
Villacoublay, Teatro Central de Sevilla
 TOUR
3 14 April 2017 11 & 12 January 2018
rehearsals on stage in Teatro Central, Sevilla Les Thtres de la Ville de Luxembourg
Luxembourg premiere

CALENDAR
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

Presentation

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

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

Artistic coordination:
Carole Fierz
fierz.carole@orange.fr
+33 (0)6 80 61 94 15

WEB and press:

Jaime Quintero
quinterobalbuena@gmail.com
@jaimeusb
+34 625 78 91 24

Presentation

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