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. A similar case is that of Kolbebasar, first performed in Figueres in 1988 and later throughout Europe, receiving excellent critical acclaim as well as prizes such as the emblematic Grand Prix du Concours Chorégraphique de Bagnolet, (Paris, 1988).
Kolbebasar is for seven dancers. Its force of composition is such that the spectator is seduced and enthralled by the performance. The music—by Joan Saura and Xavier Maristany—and the choreography write the same score, an abstract game arising out of the living beat of the composition. Today, after more than twenty years, one still finds oneself in this dance in a fully contemporary work. Àngels Margarit will revise the piece with a list of new interpreters but with total fidelity to the original.
The name Kolbebasar is made of two words
Kolbe: George Kolbe, German sculptor one of whose carvings can be found in the German Pavilion Mies van der Rohe, in Barcelona;
Basar: market of various objects.
The choreography is as well the union of different pieces, in a sort of mobile exhibition in which each one is transformed into an outstanding object.
One solo, one duet, one quartet and one sextet which from one same motif develop different constructions are the structure on which this performance is articulated.
Textures of movements which travel or install themselves in space, reflections and symmetries, one image, one (quiet) shape which moves, the continuity of the interruption.