{"id":98184,"date":"2024-11-14T10:33:00","date_gmt":"2024-11-14T09:33:00","guid":{"rendered":"https:\/\/temporada-alta.com\/?page_id=98184"},"modified":"2025-02-20T13:34:37","modified_gmt":"2025-02-20T12:34:37","slug":"2023-edition","status":"publish","type":"page","link":"https:\/\/temporada-alta.com\/en\/2023-edition\/","title":{"rendered":"2023 Edition"},"content":{"rendered":"
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A festival to everybody<\/strong><\/h2>\n\n\n\n

We are making progress in our third decade of existence, with a edition featuring a programming of 99 shows spread over 22 stages over 11 weeks<\/strong>. This year, we have the most powerful international programme in our history, with artists and companyies such as Complicit\u00e9, Milo Rao, Ang\u00e9lica Liddell, Pan.Optikum, Sergio Boris, Gabriel Calder\u00f3n or Thomas Ostermeier, among much others.<\/p>\n\n\n\n

Besides, we are getting back the emblematic Fira de Girona as a place for large format events. There we present the tour final concert of Antonia Font<\/strong> and one of the great innovations of the festival: la petiTA<\/strong>, a day of family shows co-organized with El Pot Petit. Thus, Temporada Alta 2023 has the most scheduled family shows so far.<\/p>\n<\/div>\n\n\n\n

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Figueres joins the festival as a new subseus, which will host Diptych: The missing door and The lost room<\/em><\/strong>, the new show of the Peeping Tom dance-teater company. TA23 will therefore have 6 subseus (Figueres, Palafrugell, Torroella, Sant Gregori, Banyoles and Bescan\u00f3), to which we again add Barcelona. After the good experience of last year, this year, we took two shows to the city count: La Doleur<\/em><\/strong> at the Romea Theatre and The Goldberg Variations<\/strong> at Mercat de les Flors.<\/p>\n\n\n\n

We also repeat, as in the previous year, the initiative to premiere a show inside Girona Cathedral<\/strong>. In this case, it is the reading of Simon Weil\u2019s Works, with dramaturgy by Anna Punsoda and starring the actress M\u00edriam Iscla.<\/p>\n\n\n\n

The 2023 program is a good example of Temporada Alta being a festival that has everything and is intended for everyone<\/strong>. That is why we have also decided to include in the programming a comedy cycle, embracing stand-up as yet another stage discipline.<\/p>\n\n\n\n

32 years of Temporada Alta, where we continue to offer programming that mixes local artists with a remarkable international presence, the impetus for creation, the balance between more experimental productions and proposals with the popular theatre and international projects such as the PPP (People Power Partnership) <\/strong>by Pan.Optikum that this year returns to Girona with its great final result.<\/p>\n\n\n\n

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programme 2023<\/a><\/div>\n<\/div>\n\n\n\n
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Documents<\/strong><\/h2>\n\n\n\n
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presentation dossier 2023 (spanish)<\/a><\/div>\n\n\n\n
festival keys 2023 dossier (cat)<\/a><\/div>\n\n\n\n
closure 2023 dossier (cat)<\/a><\/div>\n\n\n\n
infographic 2023<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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The poster:
Gest-batec<\/em> by Enric Pladevall<\/strong><\/h3>\n\n\n\n

\u201cGest-batec<\/em>. Compound word I just invented. It is partly the result of my trip to Japan in 2007 where I went to take a Japanese calligraphy course in Kyoto. Not for calligraphy, but to use the technique in my later work. Also to drink to the Shinto Temples I admired so much.<\/p>\n\n\n\n

I did this work in Kyoto in five seconds, but it\u2019s been in cave for fifty years, because what you say in any of the works you\u2019re doing is a cocktail of what you are: what you\u2019ve lived, what you\u2019ve read, what you\u2019ve seen and heard, what you\u2019ve walked, friends, conversations, thought, attitude to the world, nature, country\u2026, all of this is creating a cocktail that\u2019s passed on to the work. That would be the other part.<\/p>\n\n\n\n

Is Gest-batec<\/em> an act carried out by an impulse or a feeling?<\/strong><\/p>\n\n\n\n

Is it a gesture-battling of hand, arm, body, head, or emotion? Is it a dance of the word? A crook? The silent shout of an actor? A simple seed? Or simply a drum-headed gesture.<\/p>\n\n\n\n

I don\u2019t know if I\u2019ve explained exactly how inexplicable\u201d<\/p>\n\n\n\n

Enric Pladevall
<\/strong>1 de juliol 2023<\/strong><\/h3>\n<\/div>\n<\/div>\n\n\n\n
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Albert Serra\u2019s TA23 Short Film<\/strong><\/h3>\n\n\n\n

\u201cWhat I like the most is when the artists improvise, but with a strong conceptual will behind them, when they cannot have fun, when there is still the spontaneity of life, but the truth of the scene and the accompanying pressure begin to emerge.\u201d<\/p>\n\n\n\n

Albert Serra<\/strong>
Short Film TA23 Director<\/strong><\/p>\n\n\n\n

A film by<\/strong> Albert Serra
Music:<\/strong> Molforts
Image:<\/strong> Artur Tort and Marc Cusc\u00f3
Sound: <\/strong>Jordi Ribas<\/p>\n<\/div>\n\n\n\n

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About the director<\/h3>\n\n\n\n

Albert Serra (born in Banyoles in 1975) is a film director and producer. His first feature film was Crespi\u00e0, the film not the village<\/em> (2003), which was not released commercially. Honor de cavalleria<\/em> (2006), his second film, was featured at the 2006 Cannes International Film Festival and his wonderful reception made him a landmark in contemporary European author cinema. In 2008 he returned to Cannes to present El cant dels ocells<\/em>, his third film. In 2012 she directed Hist\u00f2ria de la meva mort<\/em>, a Spanish-French co-production in which he mixed the myth of Dracula with the figure of Casanova in the context of the transition from the 18th to the 19th century. It was this film that would earn him the Golden Leopard at the Locarno International Film Festival, a prize that made him jump into the world cinema as one of the most original directors. Four years later, in 2016, he presented La mort de Louis XIV<\/em>, a success starring Jean-Pierre L\u00e9aud, who would make him the first director of Spain to win the Jean Vigo Prize. At first, the film was intended to be a museum facility, but due to various problems it was not. However, Serra resumed this idea in 2018 with Roi Soleil<\/em>, a grotesque portrait of Louis XIV and his gradual decline until his death. A year later, in 2019, he returned to Cannes with Libert\u00e9<\/em>, a play on libertinage in 18th-century France that won him the jury prize. In 2022, he directed his last film to date, Pacifiction<\/em>. This is a satirical critique of today\u2019s nuclear crisis, with which he has won the Louis Delluc Award and has been chosen as the best film of the year by Cahiers Du Cin\u00e9ma magazine.<\/p>\n\n\n\n

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