| 2020-2021 Creation by Kamchàtka Street Theatre Company
1, INTENTIONS ………………………….…………………………..1
2, SYNOPSIS ………………………………………………………...3
3. THE PROJECT …………………………………..……………….4 Preliminary conditions Staging outline Enriching the project 4. OUR ARTISTIC INVESTIGATION ……………………………..7 Work Axis Material Inspiration Post-covid 19 5. CREATIVE PROCESS ………………………………..……….12 Collective creation: A Kamchàtka hallmark First tests Next stages 6. ARTISTIC TEAM ……………………..…………...…….……..18 The Kamchàtka collective For the soundtrack: La Fausse Compagnie For audiovisuals: Lluís de Sola For culinary advice: Quentin Bourdy
7. SUPPORTING US …………………………………...………...20 Currently supporting And we would like to count on their support...
MORE ABOUT THE COMPANY …………………………….….23
1. INTENTIONS Fiction, stories, theater, have been and always will be the much needed mirror which reflects and shapes societies. It is that place in space-time where we can see our lives reflected and it pleases us to think that what happens to us is universal, that our fears and our joys are shared. We would like to share all of this with everyone. And in order to achieve this, we rely on the characters which have accompanied us since the beginning of our adventure. The kamchĂ tka characters have a timeless quality to them which sets us as if within a historical memory, inside a memory from the olden days which, at the same time, is extremely contemporary. We believe that through their uniqueness, these characters manage to be universal and speak of humanity. We have seen these characters discovering new cultures (in the KamchĂ tka show), residing in amazing places set up for living during a long time period (in Habitaculum), and leaving places to simply survive (in Fugit). During these years, KamchĂ tka, indeed, has spoken about migratory movements. And it has done so from the human and collective perspective of their characters. Characters which have spoken to an extremely diverse audience, an audience which represented nearly every possible human feature. The audience has cried and has laughed with us. A lot. And so did we. Now we would like to propose a collective trip to you, a trip to our individual humanity. A journey to the memories of each one of the characters. Memories that have shaped the most significant circumstances of our existence, that have helped us see ourselves reflected in them. Memories that distill the humanity required for a faithful reflection, but with a grain of surrealism, absurdity and fantasy so that they can also remain faithful to our artistic language throughout these years.
We profoundly believe that fiction and theater are instruments which hold the strength required in order to build the foundations for change and direct us towards where we want to go. The theater we dream of is the place where utopias grow and where the deepest emotions are shared.
In a place without time, in a time which has no date, in but one of the possible futures which might unfold, we will meet. The wait. Long. Intense. Inevitable. There is no one left but us, along with what we were and what we want to be. We are the sum of our memories, the accumulation of decisions and coincidences which have brought us here. Have a seat, I shall tell you where I came from. Hurry, tell me where youâ€™re from. We might just figure out where we are headed... You, me and the other.
3. THE PROJECT PRELIMINARY CONDITIONS Site specific The audience will be invited to a designated place and with a limit of 50 ↔ 90 people, the audience will be separated into smaller groups during the show. The audience moves between spaces during the show. Both outdoors and in uncommon places. Takes place at night / dusk. A technical location scouting and site visit will be necessary in order for the company to identify and secure the different locations and spaces. STAGING OUTLINE The piece will be composed of IV acts, an Act being a coherent unit within the development of the plot: ❖ ❖ ❖ ❖
Act I - Encounter Act II - The Waiting Act III - Memories Act IV - Reencounter
The audience will be transferred to a remote space. Isolated. At night. And this is how we will begin the event. Act I - Encounter We situate the audience in a Place non-place. In a time with no time. Where from the get go, the audience members are lost. Starting from this feeling of initial misplacement and disorientation, the audience will spot the characters and observe their lives. Lanterns swaying in the wind, ember smolders, a light appears in a window. It’s a first step, a step which
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will later give way to more life in this ‘place non-place’, that will give the audience a sense that this place is now something a bit more concrete and defined: a place where these characters reside. A place where these characters wait. And where they invite us to be. The prospects arising from this encounter pretext are ties to our way of writing, which has always drawn from reality-fiction. We always place the audience in a participative position and with a defined role. Just as we place the theatrical space within this situation. Act II - The Waiting Being with the ones we are with. Looking at them. Looking at the ones who accompany us. This will be the moment we connect, the time in which you will look into the character's eyes in search for answers to questions that will perhaps not be answered: Why am I here? Who are you? Do you live here? What are you going to teach me? What will we go through together? What are we waiting for together? This is the moment for complicity with those who are in the same situation as you are. And together with them, waiting unfolds . A time with no time. All one can do is wait, wait for what? For a new world? A new era? For a new land? It is limbo. The kind of waiting which millions of people alongside borders worldwide live through, or in prisons, confined. We have all lived through this wait.
Silence, stares, stillness, music. Music that stops, to give way to more silence, music that returns, music that stops again, and eventually a dynamic moment of action. By everyone. We must celebrate the moment we have lived through, we must take action in order to remember this instant. The instant when you were here. It is in this waiting phase and in this initial contact that the need to relate is born, to share the memories of what we were, and what we have ceased to be. Portraying what we have lived through in order to find out what unites us, what makes us a part of the same community. Act III - Memories We would like to portray the characters' most intimate past, depict the most uncommon and unique, but by giving an account of their previous daily life, and by doing so touching on the universal. They must have surely ceased being who they used to be, they must have left something behind on their way. And it will be forever lost in their memories, since everything one lives through is theirs to keep, and as everyone, they have to option of sharing it. Or not. The characters thus begin to bare their soul and reveal their most intimate memories. It's an intimacy in the form of memories, which touches the audience and which unveils the trust we feel for someone who is defenseless yet chooses to share their tale of fragility with us. These are memories, past stories, that determine a path. These are moments in their life that require choices to be taken, without nearly realizing it. Seminal moments in one's biography. In this realm we intuitively feel that a cinematographic language can help us carry out the third part of the piece.
Each character will tell us their story, without words, with evocative dreamlike images, respecting KamchĂ tka's own distinguished theatrical language. And the audience, moving through the theatrical space in small groups, will be able to see these images, feel these memories. Alongside the character that they are remembered by. Act IV - Reencounter To see each other again. But now, after learning to know each other and sharing some memories. Knowing what's behind those eyes. And what now? What can we share more? How else can I express to the other who I am? Knowing what you know about me, will you understand why I do what I do? Will you understand me? We offer the audience to share a meal, a daily ritual which offers us the chance to look each other in the eye and establish the complicity we all desire so much. Sharing food, as a form of culture exchange, as a communion of the senses, as a daily and festive act, as a simple and universal ritual to toast life, a symbol of being welcome. Food in its deepest sense. That which nourishes us. Essential for living.
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ENRICHING THE PROJECT Alter will be a theatrical piece that could be complemented by various elements. We are currently working on the possibility of including 2 options that would help us enrich the project. The Workshop During this creation stage, we have put our work method on display publicly by creating micro-stories. The process has been shared and the micro stories have been published on our instagram profile. We are also working with a high school in Barcelona so that secondary school students try out our creative method while developing their creative skills and becoming participants in a theatrical creation. Our proposal was accepted to such a degree while sharing our creative experience that is has prompted us to consider developing a creative writing workshop linked to the staging of our theatrical piece. A creative writing workshop might take place during the same days as the Technical Site Visit, previously mentioned in the project presentation for location scouting. The participants are invited to write a story, a small story inspired by an image, a memory of another of the participants, based on personal photographs from the past, collected by the participants themselves. Some of these stories could be reinterpreted, to include them in the show that will be scheduled in this location. Musicians The soundtrack of the short films and possible musical moments within the play will be composed by the Fausse Compagnie. There will also be an option of having it performed live.
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4. OUR ARTISTIC INVESTIGATION Based on this premise, we will explore new settings.
WORK AXIS Developing the distinguishable Kamchàtka theatrical language After 12 years of working together, we have created a theatrical language, poetics of our own which distinguishes us. Building on these we are interested in exploring and generating past personal everyday stories which will form the origin of our characters’ story.
We are interested in maintaining the possibility of direct public intervention which is open ended even though the show’s written script is over and complete. We will therefore leave adequate space for improvisation and public participation, always framing it within the outline of the story we want to tell. The space: street theater space / site specific / private-public sites
Find the right tone for our memories. Cinematic Language
We will investigate space and its multiple uses of visual representations and axis: far / near, large / small.
The desire to experiment with the audiovisual language has existed in the company for a long time. We are particularly excited to be confronted with a new language. We believe that this will help us dive deeper into the characters and into conveying the emotions this entails.
Space as an integral part of dramaturgical writing, with its physical characteristics, its technical specifications and its intrinsic information.
The way we deal with this new form is one of the great artistic challenges we face in this creation. To be able exhaust the need to explain something very concrete and intimate while seeking a surreal and dreamlike language. We wonder what would a kamchàtka film be like? How can the spirit of the company be embodied in the seventh art? We will be accompanied in the creation of this task by Lluís de Sola, introduced to us by FiraTàrrega. The audience and relating to its participation The relationship with the audience is an axis which has always been present in our theatrical proposals. The audience is participatory in the broadest sense of the word. It is invited rather than being forced, it is encouraged to be present and to position itself in the place that it feels most comfortable in.
Nature, land, spaces without a trace of civilization and the passage of man and time present themselves as new spatial options of possible representation. During the creation it is of highest importance to establish the technical, physical, geographic, historical and symbolic characteristics of the space for the encounter with the audience so that it is both relevant to the development of the show as well as functional. And it will be equally important to find the right arguments which could provide the keys to determining the role of each of the active agents: spectator, place, characters. Timing The questions regarding the show’s time frame remain open. How long does it last? If the different acts are separated and become independent modules, does their time frame change?
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The possibility of modifying the time frame if an act is part of the show or a separate module. The Night This is the first time that the decided to investigate the performing at night and explore engender. Darkness as another accomplice.
company has possibility of what it might dramaturgical
Investigate everything related to light and its absence. How they can accompany us in the writing of a timeless encounter and help to emphasize the creation of a dreamlike environment. Projections All the audiovisual material will also have to find its way into a live show, find the right balance, the right sensibility which makes sense while maintaining dramatic coherence. How are the memories projected? Textures, objects, large format, without music, with live music, in small groups, all together. This will be at the heart of experimentation. Food In our last act, food is the engine of the scene. Eating, as an essential act. This is its essence, after all, but for different reasons food has become a formality. It is a daily routine that is not as important as it should be, seeing as it is absolutely fundamental to our existence. How can we provoke this reflection? could it be done by providing society with tools which help it settle down and take roots? In order for this ritual to be in line with the atmosphere set up, we have carried out research regarding different ways of cooking following which we learned about essential wild ancestral cuisine.
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We have closely observed the cuisine of Francis Mallmann, an Argentine chef who throughout his career has specialized in wild cuisine. In one of his research projects, he discovers curanto, a traditional Mapuche technique of cooking food in holes dug in the ground, a process which has fascinated us due to its sculptural beauty and how inspiring eating with such close contact with the earth can be. We were lucky, thanks to our collaboration with Derrière Le Hublot (Capdenac-Gare, France), we were able to contact a young chef who runs a restaurant in Villefranche de Rouergue: Quentin Bourdy, a great fan of Francis Mallmann’s cuisine, who has agreed to accompany us in this culinary experimentation. As of today all our experimentation and research has been theoretical. During Summer / Autumn 2020 we will hold the first experimentation with this cooking method and it will also be when we present it to a live audience. Finding the right format so that, thanks to the kamchàtka language, we can carry out this act and generate a moment of collective emotion depends mainly on the research we perform and on the improvisation work stages we have previously conducted.
MATERIAL The memories of these characters will serve as a snapshot of thousands of stories. They will be stories which will serve to evoke and pay homage to thousands of life stories, of decisions, of everything which which might move us in everyday life.
Who are we? Who is the other? What is it that brings us together? What can I say about myself? INSPIRATION Shaun Tan and his book “The Arrival” Ryszard Kapuściński and his book “The Other” Stéphane Hessel and his book “Time for
They will be snapshots of instants that prompt memories of all the moments we have lived through, the fragility of taking a decision, the tragedy of abandonment, the intensity of love. We are fascinated by migratory movements, both past and present, we believe that they represent the very story of humanity, the very struggle of mankind. The characters are the memory of a people which are the people to which we all belong to. A people that loves, lives, flees and dies.
Outrage!“ The world of Jean-Pierre Jeunet and Marc Caro Michel Gondry and his dreamlike world as portrayed throughout his filmography. “Maelstrom”, a short film by Misja Pekel (Holland, 2018)
Much of the material that nurtures our creations comes from research around the theme of migrants, refugees from different historical periods, and focused around photographic images and memories. We have started building a library of images, related to past and present immigration, that is constantly in dialogue with our own memories. We are deeply touched by the need to be accepted, understood through the complexity of our diversity, one which may be cultural, religious, even temperamental or characteristic. We seek a path in which distances are reduced and difficulties are diminished. For us, research is a continuous fluctuation between reality and fiction, past and present, between us and the others. Alter becomes the search to understand ourselves in order to try and understand the other.
The Decameron, by Giovanni Boccaccio Gilbert Garcin's surreal imaginary images The online work on refugees and their memories by the Spanish Commission for Refugee Aid Kumulus Company and Rencontres de boîtes”
Francis Mallmann and his wild cuisine, The books “Seven fires” and “Tierra de fuegos / mi cocina irreverente”
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POST COVID-19 When creating, we always tackle a series of non-artistic restrictions which are necessary in order to carry out the project. And this, supposedly, limits the creative process and creativity itself. So, the moment always arrives when we debate this issue: should we move forward creatively without being tainted by these ‘factual’ constraints? Does reality step in before imagination and creation? The creative act must indeed be considered a whole, where reality is but one more part, nevertheless the fear that this dependency on reality may restrict the creators’ most lofty, utopian and dreamlike ideas always exists. A certain lack of perception of reality has helped generate great creative feats. And it is these feats that provoke our ‘creative envy’; to go against the current. To be special. Throughout the years we have continually tested our creations in unconventional spaces and looked for ways of positioning the audience members within our scenes so that they play an active part in the evolution of the moment we share. At the time, this research was what our creative force called for. And this search for new types of theatrical formats strikes at the heart of the possible post-pandemic scenarios that are being drawn in the theatre world these days. Will we be able to work as before? Will something change? And it is obvious that we have no answer to these questions. And it is obvious as well that we do not have to come up with these answers. It will be up to us to respond to a possible new way of experiencing cultural events. And this is a challenge that we want to face from now on. We can not conceive a theatrical creation without the possibility of it being exhibited. Art is a public good that has to serve the community. Creators who are dedicated to street art are very clear about this need and we are not going to miss the opportunity to support society and continue generating surprises. Perhaps it is not the time to be holding on to traditional practices or at least ano OUR ARTISTIC INVESTIGATION -10-
not the ones we were used to, it might be time to take off towards a new creator-spectator relationship. Can the public continue to be an active part? Our creative struggle will definitely be talong these lines. We will not leave the sources of our creative inspiration behind, but we may have to approach them in a novel way. We most certainly will have to try and focus amidst the unfocused. We currently do not have a very clear path towards where we are heading nor do we know how each individual will relate to the other. If we wished to talk about how one relates to each other, will we have to add this new layer to our work?
So, aware as we are of the changes that may occur to our field, we will investigate the possibility of structuring this theater piece as a modular stage project. In order for this to happen, the narrative parts of the piece’s plot would have to work on their own, which is why we rather call these parts “Acts”. A Module will therefore be made up of 1 or 2 acts which can be presented ‘stand alone’, with fewer actors, less material, logistics and a shorter time span. As an example, we would like to present some sketches of what we think these modules could end up being like.
Possible variation on Act III - A single projection (without the presence of actors) The everyday memories of the characters, which are projected during the show at different points and different formats, could be presented as together as whole film (an unabridged format) and be viewed in their entirety. They can be viewed in a movie theater, in a theater hall or even on-line, with a possible subsequent meeting-debate with the artists. Possible variation on Act III - Visual installations (with a minimum presence of actors) These same screenings, after a technical location scouting visit, could be performed in different designated areas of the city, chosen for their symbolic or heritage characteristics in keeping with the spirit of each short film. Possible variation on Act IV - Food (participatory and festive act) The last act of our piece may very well result as a singular theatrical driving force which we could turn into a stand alone participatory-theatrical encounter. An encounter where food and the sharing of basic produce, taken out of the ground in a suggestive way and prepared by some of the characters, leads the way to creating mutual understanding and complicity.
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5. CREATIVE PROCESS A COLLECTIVE CREATION, A KAMCHATKA HALLMARK The KamchĂ tka company is organized in a collective system which is assembly-based. All our creations have been collective, with the occasional aid of some internal direction, carried out differently in each of our shows. Two of the company members will be responsible for coordinating all the logistical and artistic aspects of the different work stages for Alter. FIRST TESTS The early stages of work are very important during creation. It is when very broad and open ideas are confronted with the real world, they become concrete, and they go from being impossible to being possible. The 10 members of the company meet together to confront each other's ideas, mediate them and find the path in which they all feel best represented, which they find interesting and which answers the initial hypothesis. Some of the rules of the game are: Never say no! Everything has to be done/tested to see if it works In many of the residency stages we organize a public test-run followed by a meeting with a trusted audience.
Find a new methodology for collective work
Who are these characters that have been traveling with us for 12 years? Where do they come from? What is their story? At what point in their lives did they have to make the decision which made them change course? What unites each character to the others? We finished the week with nine short films, each 3 minutes long, as well as a food based improvisation to test with the audience. And following the protocol agreed upon, we organized a public display preparing a test-run for an audience with the material we have accumulated.
End of Residency Test-run The public, which was summoned to two different places, saw a scene where in the distance, the characters encountered each other, and was then invited indoors where they watched the short films portraying the story of the characters.
#################### Aurillac, France // 1>8 of June, 2019 Hosted by CNAREP Le Parapluie Residency Objectives Find out the first hypothesis for this creation: Test the audiovisual language Food as an intimate act, an experiential social act
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Suddenly the large doors on which the screening was held opened and each audience group came face to face with the other group while in the middle, between them, a banquet was set up with the KamchĂ tka characters inviting them to join and to share. Later, a meeting with the public was set up where we discussed the experience and confront the work with them.
Images in the distance, and simple powerful actions hold a significant dramatic force.
The fact that the characters meet each other introduces a possibility that the story of each one of them is related to that others, creating a joint coherence. Leaving open the possibility that they each work by themselves.
Sitting and watching a story on a screen takes you away from the here and now. therefore passing from being a spectator of a video to an active audience member should not be taken for granted. They are extreme postures. ####################
The presence of the children seems to add depth to the different propositions as well as adding realism, strength and fragility at the same time. We opted for finding more occasions where we can integrate them into the work.
Pontos, Catalunya // 2>4 of July, 2019 Hosted by MUTTE CULTURAL. Residency Objectives -
Investigate how and when the characters meet Continue testing the audiovisual language Integrate the children of the company in the videos Define the next stages of work, a task which is always decided collectively
#################### Pontos, Catalunya // 2>8 Diciembre 2019 Hosted by MUTTE CULTURAL Residency Objectives -
Theatrical Language and narrative investigation. Finding presentation formats for audiovisual work. Initial testing of transitions. Search for collective scenes.
We invited Tomàs Aragay, A renowned Catalan screenwriter, and Lluís de Sola, professor of visual arts at the University of Mataró, to carry out a screenwriting and audiovisual writing Masterclass in order to broaden the range of our formal and conceptual search. In an effort to deepen our historical research on the memory of refugees from the Spanish civil war we contacted the Memorial Museum of exile (MUME) in La Jonquera, and conducted a group visit to the museum. End of Residency Test-run The audience which was invited to the Pontós convent observed the first scene from a distance as the characters appeared in the convent’s windows and terraces, little by little performing CREATIVE PROCESS -13-
daily actions, until everyone was invited to enter a big common room, where they were welcomed by the characters. Time stopped, creating a peculiar sensation of waiting which in turn triggered a certain complicity with the characters through very simple actions: sitting, looking at each other, noticing the heat and the sweat, observing something. Until the characters, in pairs, separated the audience into small groups and led each group to different places (examples: a group of three in a bedroom, a group of five by the fire, another group in the basement ...) where they showed their ‘personal story video’, a fragment of their memories. Everyone ended up in the same space in front of the large building where a huge projection of the characters appeared together, disappearing one by one, in a loop. After the experimentation, we invited the audience to a glass of wine and to share their impressions and reflections. Conclusions Memories and the way in which we can share them are very compelling. We will continue investigating this theme. Every collective group action helps clarify the settings a little more and places the audience within a clear context. We like having a direct relationship with the audience and perceive it as being a distinct hallmark of our poetics. The ‘waiting place’ does its function, creating the conditions for sharing intimacies and putting them in context. We still need to find the way in which we mobilize the public, as well as finding the relationship between the different memories and reality.
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################### Remote residencies // Locked-in We had several residencies planned for the months of In the period March-May 2020: one week in March in Tàrrega, Catalonia hosted by FiraTàrrega, and one week split into two work blocks in March and May, in Capdenac, France, hosted by Derrière le Hublot. Due to the health emergency, these residences were postponed. We were also forced to search for new methodologies for creating remotely, without meeting face to face. We started organizing regular appointments online, to work together, in small groups. Individual work as well as group meetings were held.
The coordination team laid the ground to carrying out different work stages, by means of writing games aimed at producing the necessary material we needed in order to prepare the personal stories, the memories of each character. We advanced in the following stages: 1. 2. 3. 4.
Story writing Image Search Creation of everyday life videos of the characters Writing the first storyboards.
High schools We also proposed a collective writing exercise to the @22 high school in Barcelona. The pedagogical team found it interesting to include the proposal in their â€˜confinement programâ€™ for the last quarter of 2020 for ESO sophomores. The project will consist of writing stories, evoked by images. Each student will receive several photos proposed by the company, and will have to invent a story related to one or more photos. This story will be a fictional story talking about themselves, about a memory they have or a memory they would have liked to have. Once we receive the stories, each company member will read ten of them and answer each one of them with a short video talking about the story and about the feelings it had evoked. This allows us, the actors-creators, to expand our pool of memories, transform them and open a more intimate communication channel with ten students that might later evolve through our work.
Instagram We decided to open one more door, open our creation process to our Instagram followers, accomplices interested in our work, even though at this time this work consisted of strictly virtual relationships. Thus, we launched a collective writing Instagram campaign to offer participation in our creation process. Whomever wanted could contribute their story and participate in our writing game, through coordinated events. Both texts and videos were shared.
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Dates and Duration
1 week from july 12th till 19th 2020
Fira Tàrrega in collaboration with Mutte Cultural, Pontos, Catalunya
Residency objectives -
1 week from august 9th till 16th 2020
Derrière le Hublot In collaboration with Mutte Cultural, Pontos, Catalunya
3 weeks from September 18th till October 8th 2020
CNAREP Pronomade(s) en Haute-Garonne, Encausse-les-Thermes, France
Food Act IV Development (per se, Overall) Linking Act III & IV Public Test-run modular operation
Shooting Act III Development (per se, Overall) Linking Act II & III Public Test-run modular operation Work with musicians Pretext for audience invitation Act I & II development Implantation in the territory Testing global operation
2 weeks from the 8th till 21st of December 2020
CNAREP Le Boulon, Vieux-Condé, France
Shooting Projection look and feel Testing modular operation
1 week, January 2021
FiraTàrrega, Tàrrega, Catalunya
Testing global operation Implantación in the territory
10 days, February 2021
TBA (still seeking)
Act IV development (per se or overall) Ending development Technical & audiovisual implementation Testing modular operation
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Dates and Duration
10 days between march 15th and APril 15th 2021
TBA (still seeking)
Residency objectives -
April - May 2021
Big Room, Moscow, Russia (To Be Confirmed)
L’autre Festival (Derrière Le Hublot), Capdenac, France
Arctic Arts Festival, Harstad, Norway (TBC) and/or Artisti in Piazza, Pennabilli, Italy (TBC) and/or Oerol, Terschelling, Holanda (TBC)
TBA (still seeking)
International Street Theatre Festival, Aurillac, Francia (TBC)
Creation of the show production protocol. Transitions from audience invitation starting point Implantation in the territory Testing global operation
Implementation in the territory Pre-premiere Implementation in the territory Pre-premiere Implementation in the territory Pre-premiere In advance (March April 2021): Creative writing and historical memory workshop Implementation in the territory Pre-premiere Implementation in the territory Pre-premiere
September 2021 (Fira from 9th till 12th)
FiraTàrrega, Tàrrega, Catalunya
Spanish and Catalan Premiere
Fall - winter 2021
TBA (still seeking)
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6. ARTISTIC TEAM
THE KAMCHATKA COLLECTIVE Our creations are born from our ultimate collective essence. All the company members. From the unique gaze in each one's eyes. It is the only way in which we can assure our work becomes multifaceted, with as many faces as creative visions, all intervening and enriching our creation.
FOR THE SOUNDTRACK: LA FAUSSE COMPANY lafaussecompagnie.fr Nomads, musicians who explore encounters and cultivate singular moments ... Free, they disappear as they have come; they make us wonder if everything that has happened is real. An acoustic, musical and human experience born out of the quest for exchange and for sharing. A sound in motion, a promise of freedom. A musical journey which is as unpredictable as it is
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sensitive and lucid. When we discovered La Fausse Compagnie's work, the proximity of our universes and our research immediately struck us: wandering, characters without age or borders, improvisation, the use of street furniture… Our paths crossed in various festivals, but the true artistic encounter took place in April 2019 where we could improvise a dialogue between our shows "Kamchàtka" and "Le Chant des Pavillons" in a unique proposition thanks to a ‘carte blanche’ given to us by the Melando association.
La Fausse Compagnie uses Stroh flag instruments, an old mechanical amplification system for cello and double bass discovered in Romania and which they themselves have recreated and adapted.
FOR CULINARY ADVICE: QUENTIN BOURDY lunivers-villefranche.com Quentin Bourdy is a French chef. With his great-grandfather being a chef in a large establishment and his grandparents being restaurant owners, Quentin has grown up immersed in the world of gastronomy. He is trained at the Institute of Hotel and Tourism Professions in Toulouse. He refined his fine cooking alongside acclaimed chef Michel Bras and France's “best working chef” Jean-Luc Danjou. Finally he returned to the family restaurant, L'Univers -in Aveyron-, as a kitchen assistant. But not long after, he decides to renovate the restaurant, and take charge with his wife, Noémie. Quentin is a keen lover of wild cooking by Francis Mallmann.
FOR AUDIOVISUALS: LLUIS DE SOLA lluisdesola.com Lluís de Sola (Barcelona, 1981) began making films at age 16 with the old family super-8 camera and later in 16mm and digital, formats with which he experimented on his own through small pieces that he successfully showed at international festivals. He has studied art history (UAB). He has worked for several production companies as a camera operator, editor and as a stuntman in action scenes. In recent years he has focused on producing and directing new formats and content for television (XTVL). He Currently combines work and directing jobs with personal projects.
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7. SUPPORTING US CURRENTLY SUPPORTING Mutte Cultural from Pontós (Catalunya) has welcomed us in residency at different stages throughout the creative process. It is our meeting point, close to our heart with its personal attention and close physically to where we live. Le Parapluie in Aurillac, France. The National Center for Street Arts and Public Space (CNAREP), which has already welcomed us for a writing residency in June 2019 and opened the possibility of participating in its Festival program in 2021. We have been selected for the Suport a la Creació (Creation support) program of FiraTàrrega, in its biannual program Guaret, Agreeing to host our Spanish premiere for September 2021. FiraTàrrega was the one who put us in contact with Lluís de Sola, as an audiovisual adviser. The CNAREP Pronomades en Haute-Garonne, France is another one of our co-producers, agreeing to give us their support by receiving the company in residency in its space, during three weeks in September - October 2020. Derrière Le Hublot in Capdenac is also supporting the creation of Alter on a biannual basis. We will carry out a first residency in 2020, to subsequently carry out another one in 2021 together with a pre-premiere at its festival in May 2021. This collaboration has allowed us to contact Quentin Bourdy as a culinary expert to help develop our last act. CNAREP Le Boulon has also agreed to support us in 2020, hosting a residency in December.
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AND WE WOULD LIKE TO COUNT ON THEIR SUPPORT... We would like to present you with a list of all the cultural actors which we have contact and who might support ALTER based on their interest and previous relationship with the company. We are currently in the initial contact phase with some of these actors while with others we have already advanced significantly in discussing possible support plans. In Catalonia: GREC Barcelona Festival, TNT Terrassa, TEMPORADA ALTA in Girona, FITT Tarragona. In France, the following list includes cultural actors which have co-produced our previous creations (but have not formalized their support for Alter yet) and the various entities which are most interested in the company's work: Scènes de rue in Mulhouse, L'Abattoir in Chalon sur Saône, Les Tombées de la Nuit in Rennes, Le Sillon in Clermont l'Hérault, Furies in Chalons en Champagne, Le Citron Jaune in Port St Louis du Rhône, l'Atelline in Montpellier, La Paperie in Angers, Sur le Pont in La Rochelle, L'Atelier 231 in Sotteville-lès-Rouen, Le Fourneau in Brest, L'Usine in Tournefeuille, Culture Commune in Loos-en-Gohelle. In Europe the following entities have shown interest in Alter: La Strada in Graz, Austria; Big Room in Moscow ; SIRF at Stockton-on-Tees and Freedom Festival in Hull, England; Artisti in Piazza in Pennabilli, Italy; Artic Arts Festival in Harstad, Norway and Oerol Festival in Terschelling, The Netherlands. We are also contacting with the following entities which have hosted our previous shows: MiramirO in Ghent, Belgium; Passage Festival in Helsingor and Metropolis in Copenhagen, Denmark.
ALTER WITH THE SUPPORT OF
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MORE ABOUT THE COMPANY Kamchàtka is an artist collective of diverse
In 2010 they premiered a new production in
nationalities and disciplines whose members first
FiraTàrrega: “Habitaculum”, a living installation
met in Barcelona in 2006. Driven by the same
which requires site-specific adaptation every time it
interests and concerns and under the artistic
is performed and which continues their work on the
direction of Adrian Schvarzstein, they started
issue of human migration. “Habitaculum” has been
training intensely in group improvisation on the
performed in numerous festivals across the globe,
streets of Barcelona and researched the subject of
in places as diverse as Norway, Japan and Russia
In 2014 they complete their ‘immigration trilogy’ with
“Kamchàtka” for the first time, a show which after
their third street theatre production: “Fugit”. A show
impressing producers in the 2007 FiraTàrrega
which after several appearances in venues across
festival went on to become an international
Europe has gone on to be shown and receive
success, performing more than 400 times in 30
accolades worldwide in places such as Moscow
different countries, winning the grand jury prize for
and St Petersburg, Russia and in festivals such as
best show in the MiramirO International Street Arts
GREC in Barcelona, FiB in Bergen, Norway,
Festival in Gent (Belgium) in 2008.
In an attempt to share its research work and unique
Copenhagen and Mirada in Brazil.
In May 2019 “Musica Fugit”, a unique musical
developed “Migrar”, a workshop aimed at anyone
adaptation of “Fugit” was conceived and performed,
who has an interest in theatrical improvisation in
with the participation of live musicians. It was
public space and in the topic of immigration.
performed in ZAMUS ‘Zentrum für Alte Musik’, in
In 2009 the company created an indoor production, as part of Barcelona’s Grec festival, together with the city’s symphonic orchestra: “Music for Wild Beasts”, a show which succeeded in bringing classical music closer to audiences of all ages.
Köln, Germany, in Diaghilev Festival in Perm,
Russia and in the prestigious and perhaps most important early music festival in the world, Utrecht Early Music Festival, in the Netherlands. While it is working on the creation of ALTER, the company continues at the same time to perform its shows throughout the world, interested as ever in adapting them to unique and particular contexts and environments.
CONTACT ArtIstic - Cia. Kamchàtka Prisca Villa email@example.com +34 669 744 029
Lluís Petit firstname.lastname@example.org +34 617 632 347 Production - Melando Jérôme Devaud email@example.com +33 (0)6 33 24 85 64 Administration - Obsidiana Raquel Martinez firstname.lastname@example.org +34 93 389 43 87 P.O.B # 44 08912 Badalona (Barcelona), España