Pau Aran
| Direction and interpretation: | Pau Aran |
| Orientation and interpretation: | Consuelo Trujillo |
| Writing: | Alberto Conejero |
| Assistant director: | Leah Marojević and Theo Clinkard |
| Theatre advisor: | Pep Ramis |
| Music: | Chabuca Grande, Arturo Márquez, Olivier Messiaen, J.S. Bach |
| Stage design: | Stefan Jovanović and Paco Padilla |
| Lighting space: | Sergio Roca and Irene Ferrer |
| Acknowledgements: | El Armario de Pepa |
| Production: | Núria Aguiló Sol |
| Distribution: | Godlive Lawani |
| Management: | Laia Montoya |
| Video design: | Charlie Cattrall |
| In co-production with: | Grec 2020 Festival de Barcelona |
| With the support of: | L’animal a l’esquena, CND - Residencias de Creación, nunArt Gràcia and Nave 73 |
“The dancer fascinates the viewer from the very first moment with his infinite arms and his sinuous torso. His back ripples like the waves and his face in constant metamorphosis distils a thousand emotion”.Clàudia Brufau, Revistamusical.cat
The work and personality of the Peruvian poet César Moro fill a
choreography that reveals the universe of this Surrealist author and
painter, but also the talent of a Catalan choreographer and dancer with a
long international career.
Since 2006, the choreographer and dancer Pau Aran has been dancing with the
Tanztheater Wuppertal - Pina Bausch ensemble and has performed in more than
25 choreographies by the German artist. Parallel he has also developed his
own language of movement in a series of multidisciplinary projects such as
this one that brings together the universe of the poet César Moro
(1903-1956), the talent of the actress Consuelo Trujillo, who recites the
verses on stage, and Alberto Conejero, responsible for drafting the script.
All of which is enveloped in Pau Aran’s choreography, a solo duet that
speaks of desire, understood as the hunger for that which is absent. How do
you dance for or towards one who isn’t? How do you dance for what does not
yet exist? How do you dance after you’ve danced? What body dances when my
body dances?
This piece is the result of these musings, of all these accumulated
absences in the body, of not knowing now where, with whom and how. It is
born from the presence of absences. It is born from the remains of the road
traversed and the markers of the road yet to cover.
A dance solo is always a community of loners. Although Pau Aran dances
alone, Consuelo Trujillo and Alberto Conejero are with him. And with them,
next to them, César Moro.
César Moro who was an enigma,
César Moro who was lightning,
César Moro who was a crossroads,
César Moro who was desire.
César Moro was the stage name or the new identity that Alfredo Quíspez-Asín
Mas (his real name) took from one of the plays of Ramón Gómez de la Serna.
Under this name, he lived and created far from canons and precepts and
formulated his own language in Spanish and French, during a short and
passionate life in Lima, Paris and Mexico. The secrets of the human
condition and, in particular, the mysteries of love, are at the core of his
work.
The playwright of this play, Alberto Conejero (author of plays such asAll the nights of one day, The dark stone or The geometry of wheat, among others), is especially based for this
occasion on The equestrian turtle, theLove letters to Antonio (1939) and the 1942 play Lettre d'amour, all combined with biographical elements of a
writer and plastic artist who had a special relationship with the dance
world, an art to which he could not devote himself because of an injury.