El Conde de Torrefiel
La posibilidad que desaparece frente al paisaje
novembernov 3 – 5
© © Ainara Pardal ©
Conceived and created by El Conde de Torrefiel, in collaboration with the performers
Direction and dramaturgy by Tanya Beyeler and Pablo Gisbert
Text, Pablo Gisbert
With Tirso Orive Liarte, Nicolás Carbajal Cerchi, David Mallols, Albert Pérez Hidalgo
Artistic advisor, Roberto Fratini
Lighting design, Octavio Más
Stage design, Jorge Salcedo
Sound design, Adolfo García
Music, Rebecca Praga
Choreography, Amaranta Velarde
Images, Ainara Pardal
French translation, Marion Cousin
A Festival TNT de Terrassa coproduction ; Graner Espai de creació de Barcelona ; El lugar sin límites/Teatro Pradillo/CDN Madrid // In association with Les Spectacles vivants – Centre Pompidou (Paris) ; Festival d’Automne à Paris // With support from Programa IBERESCENA, La Fundición de Bilbao, ICEC – Generalitat de Catalunya, INAEM – Minsiterio de Cultura de España, Institut Ramon Llullde // First performed in June 2015 at the CDN de Madrid
Since 2010, El Conde de Torrefiel has been stirring up audiences across the Iberian peninsula with their abrasive shows orchestrated by the company’s co-founders, Pablo Gisbert and Tanya Beyeler. Adept in the art of creating hybrid genres and the representation of the real via different forms - theatre, dance, music, video and narration -, the work of El Conde de Torrefiel enters into a new, perhaps abstract, phase with La possibilidad que desaparece frente al paisaje. In this latest work, it is as though the images, bodies and text are not in dialogue with each other, yet their eventual confrontation is all too meaningful. The show take us on a tour of Europe via ten cities, chosen in terms of the images they are likely to conjure up in the imagination: Madrid, Berlin, Marseilles, Lisbon, Kiev, Brussels, Thessaloniki, Warsaw, Lanzarote and Florence. These ten landscapes are inhabited by four performers and an off-stage voice, multiplying the different points of view on today’s Europe and the history it carries with it. The piece traces a horizontal line between map and territory, revealing the barbarism buried deep beneath the beauty and calm of what the naked eye sees - or put differently, our extreme passivity, occulted by the vain pursuits of our everyday lives. Whether they are attributed to anonymous individuals or famous intellectuals and artists, viewed as “cultural fetishes” (Michel Houllebecq, Paul B. Preciado, Spencer Tunick, and Zygmunt Baumant among others), the words that we read or hear invite us to question our own way of looking at things.
In the same place