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“cabosanroque, which was created in Barcelona in 2001, are the last great heirs of this tradition that goes beyond music to enter the field of philosophy, engineering and plastic arts”.

Javier Blánquez, El Mundo

The cabosanroque duo has focused on one of the most particular experiences of poet Jacint Verdaguer: the exorcisms in which he participated between 1890 and 1893, in a flat in Barcelona. In Demons, the duo recreates the house of prayer where these rituals took place. A space, with the recorded participation of Niño de Elche, Rocío Molina and Enric Casasses, where the public can walk freely and modify the sound drama. Without mysticism or gruesomeness, cabosanroque is interested in the aesthetic implications of demon possession and the parallelism with the parasites that modify the behaviour of their hosts.

Demonios (Demons) is cabosanroque's sound interpretation of the notes taken by Catalan poet Jacint Verdaguer during the exorcism sessions in which he participated in a flat in Barcelona from 1890 to 1893.

cabosanroque's interest in these texts is far from questioning the causes that provoke or not the facts, it goes beyond the religious mysticism or the gruesomeness of the subject dealt with in the cinema. The interest lies in the communicative act, in the dialogue that takes place, symbolically influenced by the elements of the ritual (cross, water, fire, heart, chains) and the conceptual and aesthetic implications of possession, the non correspondence between container and content, and the parallelism with certain parasites that radically modify the behaviour of the host organism.

The audience moves freely within the stage space (an exhibition hall) which is at the same time a schematic reproduction of the house of prayer, the stage where Verdaguer participated in the exorcism sessions. The typical actions that occur inside an exhibition hall (wandering, observing and commenting) are used here to turn the spectator into an active agent of the play and a determining factor in the random superposition of the installations that make up a sound drama, which changes in each performance.

Practical information

• Teatros del Canal Sala Verde
• 19 and 20 November at 17:00, 18:00, 19:00, 20:00 and 21:00
  21 November at 12:00, 13:00, 17:00, 18:00 and 19:00

Full information on the show Ticket sales

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What the critics have said...

• “There is a division of the 20th century music, reduced to a handful of heterodox geniuses, which has more to do with imagination than with physics. (...) cabosanroque, which was created in Barcelona in 2001, are the last great heirs of this tradition that goes beyond music to enter the field of philosophy, engineering and plastic arts”. Javier Blánquez, El Mundo
• “cabosanroque has created this installation as an expanding play, one that goes beyond what we are used to. The dramaturgy surpasses the limits of the stage and the audience, who can walk around the installation however they like, fully immersed in a scenic space to which they are not used to. As they themselves say: “the public enters an exhibition hall and leaves a play”. (...) The initial televisions where El Niño de Elche recites the verses of Verdaguer's texts, the hypnotic area of audio monitors in the form of a black field of whispering flowers, the remains of a bed that sounds above the audience as if a ghost were visiting us, the vibration of the water, the audio-projection of dancer and choreographer Rocío Molina as if a demon possessed her to the point of exhaustion... each and every one of the differentiated areas are concatenated and have in common a story that moves you and makes you reflect. (...) As always, cabosanroque has created a unique piece that doesn’t look anything like their previous ones. An enrapturing success”. Norman Marsà, En Platea