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Lali Ayguadé Company "iU an Mi" (Spanien)

Lali Ayguadé Company (Spanien)
Lali Ayguadé Company (Spanien)

Performers ANNA CALSINA FORRELLAD, NICK COUTSIER, MARLÈNE ROSTAING, DIEGO SINNIGER DE SALAS
Composer JOSEP BALDOMÀ
Set designer XESCA SALVÀ
Light designer FABIANA PICCOLI
Dramaturg JORDI ORIOL CANALS
Director LALI AYGUADÉ
Duration 60 minutes
Co-produced by Mercat de les Flors, Temporada Alta and Festival Bolzano Danza | Tanz Bozen
Executive Production: Elclimamola
Booking and Tour Management: Big Story Performing Arts Services
With the support of Generalitat de Catalunya
Collaborators Sismògraf d’Olot, Nunart, Graner – Fàbrica de creació, KLAP-estudio Kelemenis

Drei Jahre nachdem Lali Ayguadé beim 16. Kemptener TANZherbst erfolgreich Kokoro gezeigt hat, kehrt die katalanische Choreografin mit ihrer jüngsten Arbeit iU an Mi nach Kempten zurück. Ayguadé inspirierte sich für dieses Quartett an den menschlichen Reaktionen auf ein tragisches Ereignis. Die Auseinandersetzung mit dem Unvermeidlichen, dem Unerwarteten übersetzt sie in den Tanz und stellt die Frage in den Raum: Wie drücken wir Emotionen aus, wenn wir mit einem unerwarteten Ereignis konfrontiert werden? Wie zeigen wir unsere Emotionen anderen gegenüber? Und wie sehen uns die anderen? iU an Mi (gesprochen spielt es auf das englische Du und Ich an) verweist auf das Gegenspiel zwischen Privatem und Gesellschaft, und die Körper finden in ihrer aufrechten Haltung, in Gestik und Bewegung tanzend eine Möglichkeit, den Tod und das Labyrinth aus stillen Zuckungen, in dem sie sich vor den anderen verstecken, zu überwinden.

Iu an Mi Under the pretext of a funeral, I would like to talk about what people do when confronted with irreversible events, inevitable actions that we do not know how to cope with. About emotions prettied up by convention, about intimacies forcibly exposed to the group. How we look at others and how others see us. About the private and the social, the personal and the public.

We are all equal, we all go through the same things and we all need the same thing, yet still we persist in believing that we are different; in pretending we are special, unique. We all believe that fate holds something different in store for us. “It might happen to anyone, but it won’t happen to me.” We are aware of the reality, but all of us are attracted by fantasy, we let ourselves be carried away by our imagination, and this is essentially our guide on the path of life. Because... there are so many questions to which we do not know the answer... We need to clarify what is dark, put a name to what we do not know, to everything we cannot explain – as life and death – even when this means using a new concept that we also cannot define, such as God, the Unconscious, Destiny, Soul, Spirit, the afterlife. And well, that way we have greater peace of mind.

But... What is real and what is imagined? What is the truth? Maybe that’s the problem.

The truth calls for too much imagination, it’s too abstract. Maybe that’s why humanity tries to avoid it, to leave it cloudy, hazy... Without thinking. Perhaps that’s why memory is distorted. Memory is inaccurate, and truth is replaced by fiction; by what imagination reveals to us. Memory is, unfortunately, the only relationship we can have with the dead. And from death comes the unknown, the unidentified, the thing we do not know... And this is precisely how imagination and fantasy come about. And this idea can be extrapolated to how this fantasy marks our memory of the past, the unknown future and the radical and difficult present.
If the goal is that there should be some space in which we can live our lives, then memory should be defective and limited. That we should forget. That our inevitable dead end, our fatal destiny, should be fuzzy and cloudy most of the time.

Deformed. Deceived. We live in a fantastically imagined world. And this allows us to continue our misfortune, headlong towards death.

Lali Ayguadé wurde 1980 in Barcelona geboren. Sie studierte am Conservatori del Liceu sowie am Institut del Teatre in Barcelona, ehe sie 1997 zu PARTS in Belgien wechselte. In ihrem vierten Ausbildungsjahr schuf sie, unter Anleitung des Choreografen Wim Vandekeybus, ihr erstes eigenes Solo Silence.
Nachdem sie ihre Tanzausbildung abgeschlossen hatte, tanzte sie zunächst für die Publik Eye Company in Dänemark unter der Leitung von Carmen Mehnert. 2003 erhielt sie ein Engagement bei der Akram Khan Company, wo sie in den Produktionen Kaash, Ma, Bahok – einer Kooperation mit dem Nationalballett China – Vertical Road und Confluence mitwirkte. Sie arbeitete mit den Choreografen Roberto Olivan, Hofesh Shechter, Marcos Morau von der spanischen Kompanie La Veronal sowie der Zirkusgruppe Baró d’Evel zusammen.
2005 kreierte Lali Ayguadé gemeinsam mit einem der Gründer von Les Slovaks, Anton Lachky, das Stück Twice Read. Weitere Werke entstanden aus der Zusammenarbeit mit dem Akrobaten und Clown Joan Ramon Graell, mit Young Jin Kim, Joan Català und Julian Sicard. 2015 entstand ihr erstes abendfüllendes Stück Kokoro (japanisch: Herz, Seele), gefolgt 2017 von iU an Mi.
2010 wurde Lali Ayguadé vom National Dance Awards Critic’s Circle in Großbritannien in der Kategorie moderner Tanz für ihre »Herausragende Performance« nominiert, 2014 für die »Beste Choreografie«. Die Jury von recomana.cat in Barcelona nominierte sie als »Beste Tänzerin«. In dem Kurzfilm Timecode von Juanjo Gimenez, der die Goldene Palme beim Festival in Cannes, den Goya Award sowie den Gaudí Award gewann und für die Academy Awards 2017 nominiert war, spielte sie die Hauptrolle. Die Ergebnisse ihrer künstlerischen Recherche gibt Lali Ayguadé in Workshops auf der ganzen Welt weiter.

Anna Calsina Forrelad After studying at the ‘Institut del Theatre’ while pursuing Fine Arts at the University of Barcelona, Anna started working with Roberto Oliván. From 2008, she moved in Brussels where she collaborated with artists such as Bruno Caverna and Carlos Pez, Lisi Estarás (Les Ballets C de la B), a co-creation with Sabina Sclarlat (garage29), Boris Gibé, Camille Boitel, James Thierrée, a solo by Claire Ruffin and some short movies with Murielle Felix. Now she develops her own work “Objectif Pluton” with Manah Depauwand Benoit Armange. She is performing in “Monkey Mind” by Lisi Estaras and “When the dogs assailed their masters” by Rootlessroot. Anna started working with Lali Ayguadé in 2014 on the piece “Kokoro” and “iU an Mi”.

Nick Coutsier started his dance training at the age of 12, getting in touch with urban dance styles such as hip-hop and house dance. Over the next 5 years, he trained with small hip-hop belgian companies who led him to work as a commercial dancer for music videos and tv-programs in Belgium and France. After 6 months training in Los Angeles, in 2012, he entered the Artesis Plantijn Royal Conservatory for contemporary dance. Over the course of 3 years study, he got the opportunity to work on creations and repertoire of many choreographers including Sidi Larbi Cherkaoui, Wim Vandekeybus, David Hernandez and Damien Jalet. In 2015, graduated from the conservatory he started working with Lali Ayguadé, performing in the company production “Kokoro”. In 2017, Nick worked with the choreographer and set designer Theo Clinkard in the production “ This Bright Field”, and joined the cast of “Monument 0.4 Lores & Praxes” installation work by Eszter Salomon for the summer tour 2017. He is currently working with Lali Aguadé Company for the production “iU an Mi”.

>b>Diego Sinniger de Salas After a training in Spain in Varium (Barcelona) and Cobosmika Seed (Palamós) in contemporary dance, added to his skills in hip hop, Diego Sinniger is developing its art combining both influences. He’s perfected his technique training in New York and Brussels as well. Among others, he’s worked with artists and companies as Cobosmika, Roser López, Ziomara Hormaetxe as a direction assistant and Lali Ayguadé. Since 2016, he’s started created his own work with pieces as LIOV and DIS·CONNECT. Diego keeps investigating movement through martial arts, circus practice, photography and trekking.

Marlène Rostaing Trained in theater and mime at the “École Marcel Marceau”, Marlène studies in Toulouse at the École du Lido as an acrobat and contemporary dance at the Centre James Carlès. She then keeps training with Joëlle Léandre, Cécile Loyer, Simon Abkarian, Yoshi Oida. She performed for Joëlle Bouvier, Josef Nadj, Aurélien Bory and currently for Phia Ménard and Lali Ayguadé. She created her own company in 2016 with her second solo “Tragôdia ou Thésée-moi!”. Since 2010, she’s been performing improvised duets mixing dance, voice and music. She’s performed with Peter Corser (saxophone), Elise Dabrowski (Lyric singing and bass), Philippe Gleizes (battery), Dgiz (slam & bass), Elise Caron (singing), Julyen Hamilton (dance), Hasse Poulsen (guitar), Or Solomon (piano), Leïla Martial (singing).



Stadttheater Kempten
Samstag 12. Oktober 2019, 20:00

Preise und Tickets
Lali Ayguadé

Unterstützt durch:

Stadt Kempten, Theater und Musik Gesellschaft Kempten, Bayerischer Landesverband für zeitgenössischen Tanz, Nationales Performance Netz, TheaterinKempten

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