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“Choreographer Daniel Abreu has earned a good reputation as an author of proposals that not only provoke, but also demonstrate the possibilities of dance in terms of movement research, the existence of a dramaturgy of bodies and the use of spaces as elements to be occupied in order to turn them into significant territories”.

Carlos Gil, Revista Artez

This work is the representation of a man in nature. His arrival, the magic of birth, the ghosts of childhood, the development linked to the primary and the culture and, from there, to the things that shape his path. Perhaps he is moved by the search for meaning, perhaps by survival, perhaps by faith or, perhaps, by breaking away from everything. This is how the creator, Daniel Abreu, explains it:

“El hijo (The son) speaks of the bond with the parents and of a place and what is done with it”. In short, it talks about how a child is shaped and developed. Somehow, speaking about it is putting the fragmentation of that principle of union first and understanding oneself as an individual that is unbound, but very deeply linked to a repetition of forms and facts. Something that can be explained only partially, because, in the end, the individual always carries the reinterpretation of that story.

It is through the poetics of image and sound that I present a descendant and, without being present, I speak of parents, of a place and, above all, of magic. Dance allows the celebration of being alive and having a history, the experience of being a child and its enthusiasm, the relationship with natural cycles and systems, and, in this, the various reactions inside and outside that make one exist.

In the performance, a body of today, mobile and conscious, alternates with other worlds that, without being accessible to the eye, affect us and guide us along paths, like the body's sensations in the face of events. We are beings affected by emotion in contexts, by events in nature".

Practical information

• Teatros del Canal Sala Verde
• 24 and 25 November at 19:45

Full information on the show Ticket sales

Video

What the critics have said...

• About Perro (Dog)
  “It is unusual when a dancer finds their own way into creation. And if that result has the sobriety and the commitment of Abreu's solos, the performance is a success”. Roger Salas, El País
• About Animal (Animal)
  “In Animal he embarks a universe theoretical and gestural at once, of strength and contrasts. In the struggle, which appears more than once and stands up, sculptural, as a final image, he gains gravity, body impulse and risk, he metaphorises survival and uses the nude beyond the recurrence to which we are used to in contemporary dance”. Roger Salas, El País
• “A delicate brutality, a calm beauty, a sense of humour that joins the superposition of figures and planes to give rise to the scenic narrative”. Ana Martos, Culturamas
• About Silencio (Silence)
  “A hundred percent human work, paused, one could almost say exquisite, halfway between action and contemplation, if not also a different form of action”. Rosalía Gómez, Diario de Sevilla
• “There are contemporary dance shows that leave us stuck in our seats because of the excellent technique of the dancers and there are others that make us float with the poetic atmosphere they create on stage. An unusual experience for the spectator who leaves the theatre with a significant emotional burden and without being able to stop asking themselves unanswered questions”. Adolfo Simón, Que revienten los artistas
• About Cabeza (Head)
  “Alone on stage, like a real man without attributes or artifices, without whims or scenographic vaults; even completely alien to all discourse. Language is nourished by giving up the forms of the predictable, just as if it were looking for the essence of wonder in every action or gesture, that original state of grace to which we aspire”. Isidro Hernández, El aprendiz ihg
• About Equilibrio (Balance)
  “Choreographer Daniel Abreu has earned a good reputation as an author of proposals that not only provoke, but also demonstrate the possibilities of dance in terms of movement research, the existence of a dramaturgy of bodies and the use of spaces as elements to be occupied in order to turn them into significant territories”. Carlos Gil, Revista Artez
• About Venere
  “In this work, he finds this poetics, new dimensions fixed in moments for surprise (more than remarkable if we look at Abreu's extensive career of more than 40 productions) and the use of scenic elements, such as space and light, which although they are always highlighted in his shows, they are shown here with real intention in the final configuration and interpretation. The profound identity of the six dancers that draw Venere provides sobriety to the result and adds nuances in its reading, created by the altruism with which the choreographer rocks his five companions and favours their personalities on stage. (...) A new metaphor of the artistic maturity that breathes through this work”. Mercedes L. Caballero, Un blog de danza
• About La Desnudez (Nudity)
  “The risk of the proposal makes it an exquisite palette of images that stay engraved in the mind, forcing to blink a couple of times, thus becoming a victim of that microsecond of blindness that completely changes the new image of the world”. Patricia Jorge, Que revienten los artistas