CLAIRE NOLLEZ

Production et diffusion

studio.fictif@gmail.com

+33 663 61 24 35

TERESA ACEVEDO​

international touring

touring.studio.fictif@gmail.com 

Aina Alegre 

aina.alegre.valls@gmail.com

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NO SE TRATA DE UN DESNUDO MITOLOGICO


 

GENERIC

Creation 2012 - Recreation 2016

Conception and interpretation: Aina Alegre

Sound and light creation: Guillaume Olmeta

Light design: Jordi Saladié

Résidence - Le Point Éphémère, Paris ; Antic Teatre, Barcelone; La Ménagerie de Verre (dans le cadre du studio Lab), Paris; Le CND, Paris.

Residence of recreation 2016:  Buda kunstencentrum, Courtrai.

Artistic Advise: Charlie Fouchier, Hadrien Touret.

CALENDAR

November 2018 | Nouveau Studio Théâtre | Nantes

October 2018 | Sala Baratza | Vitoria-Gasteiz

March 2017 | Sala Hiroshima | Barcelone

March 2017 | Festival Artdanthé | Théâtre de Vanves - Paris

November 2014 | Cal Bolet |Vilafranca del Penedès  - Barcelone

October 2013 | Les Plateaux de la Briqueterie | Paris, FR

September 2013| Festival Escena Poblenou | Barcelone 

February 2012 | Antic Teatre  | Barcelone

June 2012 | Festival Petites Formes (d) Cousues| Paris, FR

NO SE TRATA DE UN DESNUDO MITOLOGICO is a work that initially takes hold of a series of female archetypes related to representations of "passionate attitudes" from photography, horror cinema or advertising.
In these images of the body in ecstasy, the body out of it, certain positions are recurrent: abandonment position, head upside down, half-open mouth, a facial expression that recalls the physical feat or an orgasm. With these gestures Aina Alegre produces a choreographic material and creates in 2011 a first performance "LA MAJA DESNUDA DICE".
In 2012 she took over this "solo project" and inspired herself by the bodies of gymnasts, athletes, cheerleaders, Greek statues and academic dances, to pursue a research on the representation of the body in ecstasy linked to the physical exploit.
By replaying all these postures, often in a repetitive, almost mechanical form, to be able to shift them or even make them "skid", the piece becomes a story of figures diverted by the physical power that inhabits them. It revisits both gender identities but also bodies in "extreme" or even warlike state, a staging that questions the instrumentalization of the body and questions a form of physical fanaticism.

REVIEWS​


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