Laura Vilar:

I would like to propose a sensitive, energetic and physical space for work and have a look at the mechanics of the body in a conscious way.  The training will bring us to look at the globality and simultaneity of the moving body.

I propose some concrete phisical topic, for example, ‘The expandid piel’ (enlarged skin) and ‘Dejarse caer y crear’ (allow yourself to fall and create) as subjects for which to begin the research.

Interpretation, improvisation or creation they are part of the same unity of meaning. I propose to explore this relation using the concept Indiscipline of Jaques Rancière.

Jorge Crecis:
TITLE: Towards Vivencia

WORKSHOP: Entering Vivencia

By capturing the spontaneity, the immense concentration of being in the moment and competitiveness of sports through factors such as exhaustion, unforeseeable situations and chance, the dancer is pushed into a unique performative state of awareness and resilience. During this workshops we will combine anatomical and physiological principles to work safely with a very intense training in which the participants are encouraged not to stop, in order to find and refine their physical limits.

INTENSIVE: Staying in Vivencia

This workshop focus on how to locate and train that moment in performance which is the holy grail to anyone within the performing arts; where the ‘magic’ of live theatrical performance resides, that state of mind associated with peak performance presence. Towards Vivencia uses the extreme engagement of the body as a gateway to exploring the whole spectrum of what it means to own one of the most powerful machines in the entire universe: our body.

Participants will be led into a unique performative state of mindful awareness and therefore encourage to exercise what is at the core of our performance: our own state of mind.

We will jump, run, dance and climb to explore the limits of our bodies to train resilience, we will work on apnea to touch death and we will play so hard that we will understand how to transform any class, rehearsal and performance into a game.

LABORATORY: Exiting Vivencia

For years we have learned different movement vocabularies and styles; we have delved into codified techniques: ballet, gaga, Graham, fighting monkey, etc; along the way we have trained coordination, strength, flexibility, speed and we have learned countless exercises to improve these basic human skills to master them and incorporate into our practice. As a byproduct of all that learning, we have heard of resilience, playfulness and performance presence, but…

  • How do you train such foundational trades which are at the core of any performing career?
  • Which youtube or facebook video shows you how to work something as essential as ownership in 90 seconds?

Over the last 2 decades advances in neurosciences, anthropology and phenomenology have allowed us to pin down the non-ordinary state of consciousness associated to peak performance presence. In this Laboratory we will touch briefly on how our nervous system works,


WORKSHOP: Space is the place

This training has its focus on the action of “Making Space”. Making space inside the body, making space between bodies, making space in space. This movement practice is based on various approaches of mind-body performing training -body weather, senso-perception, contact, manipulations- to broaden the listening and rediscover potentialities and creative availability. The working proposals pose all kinds of challenges: resistance, flexibility, awareness… and they are an invitation to think about our practice as dancers and performers.

INTENSIVE: Re moving objects / partituras para atraer memorias

In this intensive we will work on a series of scores I have produced during the creation process of  my new piece Moving objects, in which I try to make present absent objects. Attracting, trapping, capturing the memory of things with the body, with words, giving objects and everything that seems past, invisible or absent a renewed existence, albeit fleeting, tangled, disordered, hypothetical, attenuated, extraordinary or fierce. To share and deploy new spaces (new future memories) from the encounter with others.

LABORATORY: Expanding objects

In this laboratory we will work under the hypothesis that our bodies are directed, moved and inhabited by the objects that surround us. We will transmute the perspective according to which we move things, entering a fiction (not far from many of our everyday experiences of alienation) in which inert objects endowed with intelligence are moving us. It will not be necessary to resort to technological objects: with a simple fetishization, animistic ritual or children playing, perhaps we can observe what lies unnoticed but develops relentlessly: the objectification of our lives. Will this work hypothesis serve to laugh a little of what we are, to unmask certain attitudes towards the environment, to observe our bodies under another light, to transform, transgress, resignify our relationship with things and objects we create?

Abhilash Ningappa:

EMBODYING CRITICAL SITUATION (Improvisation and Composition workshop)

This workshop is focused on Improvisation. We will work on fundamentals like breath, speed and energy, involving the core structure of the body influenced by different methods of kalari payattu and other martial arts combined, focusing mainly on the dancers relationship with the space and the people around them.

The practice is about identifying our way of expressing into certain situations like a moment of confrontation, dealing ,accepting and mainly reacting. Inventing a score to create an incident and let the body react and mind follows and other way around. Using senses to provoke emotions created through incidents. Identifying the space filled with accumulated information through movement and research.

We experience reaction through various tasks and scores, to disengage mind from body and observing the reaction of body, recollecting or replaying the incident and to identify it with a new perspective, the new is nothing but a combination of various memories played in different time and space which is changing and passing every moment. Bringing feeling and letting the body occupy and transfer, letting it pass in order to give space for the next incident. Running from incident to incident, going through different emotional state, identifying the presence and absence, and identifying the state of mind and body through these different emotional state.