Session nº 8

New costumes! Dona Ocell (Mrs. Bird) gains a first face.

Resisting to the exploration of the fabric. Still on it.

Feet working despite the heat and humidity.

Session nº 7

The team.

A new member engages in the process, helping with an external eye.

Trying again with the fabric.
- "I feel an elephant!"

- "When I don't see you, my reaction time is bigger."

-"Are there two bodies with a fabric or just some fabric's movements?"
"Well... Actually we're 3 bodies: both of us AND the fabric."

But also making it more sistematic. See what works.
"I feel that we have to stop for a moment and see what's working and what doesn't."

And again new clothes! Some possible movements with the cloth of FURATS (Hollows).

New and ajusted cloths, brought by the costumes-team.

Trying, improving.

Work progresses in different ways: exploration and then sistematic thinking and perception about it.
Costumes are getting defined and musics are all defined, already.
External feedback gains importance and in a global process the piece gains stronger "body".

Session nº 6

Motivation.

Details of the body-dancer.

After exploring the inner bailarina.

The Bailarina - Feet and body.

Colours around...

Searching for movements, between dancer and choreographer.

New choreography: The "TUTU" starts.
"Large, flying, suspension."
The face, expressions, arms and legs, posture.
Inertia, rotations. First the world around you and then you around the world.
THE BAILARINA is born and takes first steps.

Session nº 5

Working with materials. The big tissue, again, seen by all the members of the team. Possibilities and ideas.

Clothes gain shape(s) and volumes.
The importance of synchronicity, adaptation and creative thinking.

The scenario gets seted up.

And dancers start exploring and improving individual movements.

The tissue. When a piece of cloth makes them think about something more than their own movement.
There's not only a leg or an arm movemente. There is something more dancing there.
A team in tune, listening to each other other. And starting exploring this new possibility with eyes closed.

Session nº 4

Tiredness after trying hundreds of possibilities with the material/tissue.

Exploring possibilities for a new choreography.

"Stop! Me agobio! Uff! No me ha gustado nada estar ahí dentro (de la tela)!"
"Es una desconexión total, tener alguna en medio (la tela)! Voy a hablar, para que sepas donde estoy"
"Es importante saber manejar la tela, antes de más:"
"Si lo miro, no lo entiendo. Tengo que sentir."*

*EN

“Stop! I am feeling stifled! Uff! I really didn’t like to be inside (of the tissue)!”

“To have something in between (the tissue) it’s a complete disconnection! I am going to speak, so you know where I am.”

“First of all, it’s important to know how to handle the tissue.”

“If I look at it I can’t understand it. I have to feel it.”