There are those who would swear that the marginality of Dance, cornered forever in the ins and outs, in the intervals, in the interludes, in the questions, in the pauses, in the breaks, in the transitions, in the sidewalks, in the frames, in the borders, in the passages of the Arts, has been in fact its greatness. But there are who would swear that it could not be any other way, and between so many arts intended to last, it was crucial that humanity was endowed with, from the very beginning of the drift called history, an art that was a natural enemy of perdurability, of an art forgetful in his nature, naturally lazy; of an art without history in the drift called history. Moreover, it was crucial that, between the performing arts, Dance got to play the lack, the caducity of every representation; and do so through the needy, the faded par excellence, that is the mortal body.
Free of image, the body can only talk about death believing it talks of life. Dancers’ bodies are like guests at a banquet that only discuss morbid subjects. It is possibly at this “end of the speech” where Dance finds that art form -the portraits of objects- or still life or death nature.
- Idea and Direction: Meritxell Barberá e Inma García (Taiat Dansa).
- Choreography: Meritxell Barberá e Inma García en colaboración con los bailarines.
- Dancers: Diana Huertas, Jon López, Cristina Reolid, Martxel Rodríguez y Laila Tafur.
- Choregraphic Assistant: Bárbara Díaz.
- Playwright: Roberto Fratini.
- Original Music: Caldo (David Barberá).
- Costume Design: Estudio Savage.
- Lighting: Pablo Fernández.
- Audiovisual Design: Sergi Palau.
- Scenic Design: Blanca Añón.
- Management: Teresa de Juan (TdJ Producciones).
- International relations: Marta Fernández.
- Communication: Inventa.
- A coproduction of: Las Naves (Valencia), Teatros del Canal (Madrid), Festival Periferias (Huesca), LaFuNdicIón (Bilbao), Institut Valencià de Cultura, Festival Dansa València and Embajada Española de Londres.