C0R0L·LA
In the world of the scenic arts, and especially in the world of dance, it becomes very difficult to re-run creations. Underlying reasons include production, obviously, but also the complexity of recovering a language that is so ephemeral and often even desappears.

This notwithstanding, in our celebration we wish to re-perform some of the company’s repertory pieces that have been especially notable. One such case is Corol·la, premiered in Lyon in 1992, one of the most emblematic

works and one that has been most often staged, appearing in more than thirty cities in Europe and America up until the last presentation in 1999.

Corol·la is a solo that has always been interpreted by Ŕngels Margarit, and it is perhaps the dance where her essence is to be found in its most concentrated form, revealing those traits that have most configured her highly personal language. The great challenge now proposed by the choreographer is to bring this solo on stage right now in the person of Roser Lopez Espinosa, a dancer with lasting links to the company, and one whose qualities and energies so greatly blend with those of Ŕngels Margarit herself.

Corol·la is a solo,
a solo is a circle,
un cercle és una espiral,
a circle is a spiral
of images that move away
that move close
an infinite repetition
of oneself
of one’s own fragments.
Tumbling, breaking oneself,
whirling.

Corol·la is a piece based on
matter, instrument
rebeling and crashing
against itself.

Corol·la is a poetic space
where each object has
a secret yet evident
relationship with dance

Corol·la is an impulse
that orders and disorders
the memory of my body .

                Àngels Margarit, 1992