CA2M Centro de Arte Dos de Mayo

THU 25th JUN 21:00 H.

 

21:00 H. Performance: JORGE DUTOR AND GUILLEM MONT DEL PALOL
AND WHY JOHN CAGE?
BREAK A LEG, META LEG, MULTI LEG, MULTI DERMA, SHOWER LEG, META SHOWER, GET IN THE SHOWER, GET IN THE META, GET IN THE LEG, STICK IT UP YOU DERMA, LEG BOY, BOY BITE, BITE BOY, BITE MY PIECE, DEAF LEG, SLEEP A LOT, SLEEP NOW!...

"- Let's start at the beginning.
- Well, we'll, have to do something, dunno.
- We can try with an exercise like... Hmmm.
- Like, go ape!
- But I've already told you that...
- I've already told you that I'd much rather see how things pan out, and find materials as we go. I think for this specific project we need to start by improvising, abandon ourselves to the musicality of the sounds, and find the body.

- And, well, we know for sure that we want to work with a sound, or with a story, something to give us a structure, like a container. But we don't want the content to be the meaning of the text, we rather want it to be that which is contained by the text, which are these actions which we need to find, and the musicality we have to create. To do. To fall. To close. To open. To run. To go. To arrive.

- At the end of the day, I know that we agree, but when you tell me that you have specific ideas, that you come here with specific ideas, with homemade croquettes, and you ask me to materialize them, well, of course, there is a great discord between your idea and my interpretation of your idea, and, also, I don't understand them. It's not that I don't find them valid, it's just that I don't understand them.
Not all of them, of course, there's some I do understand. But the ones I understand are the ones that we have arrived at together. The ones you have come up with on your own, those ones, I can't realize them just by snapping my fingers, like a "Snap!", I do "Snap!", and it's done.
But you're not happy, either, with my interpretation of your idea, because your idea is yours, and, somehow, it's clear in your mind. It's not a malleable idea, snap, snap! It's a preconceived idea, pim pam pum!

- Well, okay... Let's try with the text...
But why John Cage? Why?
And why not Yoko Ono or Ortega y Gasset?"

And why John Cage? Is a performance about sound and meaning in a given discourse. The power of the sound of words. Sound as a structure, as traveling dynamics. Sensory, not significant, discourse. "We don't want to signify, quite the opposite, we want to de-signify in order to enter the realm of the sensory, of the relational, of the perceptive and of the bodily. In this performance, the discourse can be any discourse. It's not what we say, it's how we say it, what musical and choreographic tools we use to shatter the text and dive into the interpreter's work, suggesting and surfing on the waves of the imaginary."

Jorge Dutor, scenographer, stage artist and performer, and Guillem Mont, choreographer, dancer, and performer, live in Barcelona. They started working together in 2009. In 2011 they created ¿Y por qué John Cage?. In October 2013 they premièred Los micrófonos. In their works, they use language as a material, as something musical, combining it with time, space, and action. Aside from their own projects, they also collaborate with other artists, such as María Jerez, Sara Manente/Marcos Simoes, and Mette Ingvartsen.



22:00 H. Performance: SARA MANENTE AND MARCOS SIMÕES

TELEPATHY IN MADRID
There are emitters and receivers, and then there's an audience. There's belief, fantasy, and then there's magic. Can we create the conditions necessary to make magic appear? Is it possible to empower an object, a person, a situation, through speculation and forecast, as if this were a kind of "Experimental Magic", but with no magicians? In order to experiment with our "telepathy", and to invoke magic, Sara and Marcos will need the collaboration of some of you.

Performance: Sara Manente, Guillem Mont De Palol, Jorge Dutor and some of you.

Sara Manente and Marcos Simões met and started working together in 2004, when they created the pieces Palindrome and Eye in the Sky. After years working separately, in 2012 they started working together again, with The Place, creating performances based on extrasensory perception practices, such as, for example, precognition, clairvoyance, and telepathy. These practices serve them as tools for collaboration, for production and for creation. They are founder members of Cabra Vzw: http://cabra.weebly.com