{"id":98213,"date":"2024-11-14T12:20:41","date_gmt":"2024-11-14T11:20:41","guid":{"rendered":"https:\/\/temporada-alta.com\/?page_id=98213"},"modified":"2025-02-20T16:37:00","modified_gmt":"2025-02-20T15:37:00","slug":"2021-edition","status":"publish","type":"page","link":"https:\/\/temporada-alta.com\/en\/2021-edition\/","title":{"rendered":"2021 Edition"},"content":{"rendered":"
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The 30th edition<\/strong><\/h2>\n\n\n\n

In Temporada Alta we are celebrating our 30th edition this autumn with a program of 106 shows spread over 19 stages in 6 different towns. An anniversary marked by the great effort to return to a normalcy that seems closer and closer despite not having fully arrived. In this way, with the Covid restrictions still in force, from the festival we bet again on the presence, to program more international proposals \u2013 twice as much as the last edition \u2013 and with more own productions and co-productions. Despite these circumstances, we expect to reach one million viewers in our history.<\/p>\n\n\n\n

During these three decades, as a festival, we have wanted to establish lines that define our essence and that we still maintain. They are a remarkable international presence, the impetus for creation, the support of local artists and Catalan companies, the balance between popular productions and more experimental proposals and initiatives that go far beyond a program like PPP<\/strong><\/a>, IETM<\/strong><\/a>, A Tempo<\/strong><\/a> or the professional week.<\/p>\n<\/div>\n\n\n\n

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\"\u00a9S\u00edlvia<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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2021 programme<\/a><\/div>\n<\/div>\n\n\n\n
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They said about the anniversary\u2026<\/h2>\n\n\n\n

We have asked different people from the cultural, political and economic spheres to assess what Temporada Alta has meant in the last 30 years:<\/p>\n\n\n\n

\u201cIn the beginning, Avignon was the chimera, the utopia. Not anymore. With a different identity, with their own personality, Girona and Temporada Alta have entered the geography of the world\u2019s festivals \u201c<\/p>\n\n\n\n

Joaquim Nadal i Farreras<\/strong>
Mayor of Girona (1979-2002) and president of the La Ciutat Invisible Foundation<\/em><\/p>\n\n\n\n

\u201cI lived in Barcelona in 1992 (\u2026) Thirty years later, Temporada Alta is the international festival where I have presented almost all my creations\u201d<\/p>\n\n\n\n

Christiane Jatahy<\/strong>
Author, theater and film director<\/p>\n\n\n\n

\u201cTemporada Alta is an example of poetry and the spirit of programming. He has managed, edition after edition, to build an identity that is one and multiple, as unique and recognizable as it is open and eclectic. An identity celebrated and applauded inside and outside our borders, and which has placed Girona in the constellation of theatrical cities, consolidating it as a neuralgic point of the living arts \u201c<\/p>\n\n\n\n

Alberto Conejero<\/strong>
Playwright, poet and director of the Autumn Festival of the Community of Madrid<\/p>\n\n\n\n

\u201cCulture is not an expense, but an investment. And, in the case of Temporada Alta, not only for the high quality of the performing arts that are represented there and for its project of social cohesion, but also for its economic repercussion on the territory \u201c<\/p>\n\n\n\n

L\u00eddia Vidal Juventench<\/strong>
Second Vice President of the Girona Chamber of Commerce<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Documents<\/strong><\/h2>\n\n\n\n
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dossier 30 anniversary<\/a><\/div>\n\n\n\n
presentation dossier 2021<\/a><\/div>\n\n\n\n
pilars of the festival dossier<\/a><\/div>\n\n\n\n
closing dossier (spanish)<\/a><\/div>\n\n\n\n
infografy (spanish)<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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\"\u00a9Felipe<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"\"<\/figure>\n<\/div>\n\n\n\n
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The poster:  Pandemic\u2019s Hamlet<\/strong><\/h3>\n\n\n\n

Hamlet couldn\u2019t come, accompanied by Horace, Ophelia, or anyone from the troupe. Hamlet has not come. The theater is closed, no one is left. All that\u2019s left is the theater table, full of corpses and bones. \u201cThe leftover meat from the funeral turned into a cold dinner at the wedding,\u201d Hamlet told us. And certainly no matter how much we hide the bodies of the dead, the victims of the pandemic, the specter of death and fear still dwells among us. We haven\u2019t mourned yet, although we want to fill the theaters so we can go out at night and swim in the summer sun.<\/p>\n\n\n\n

\u201cSomething is rotten in Denmark,\u201d said Officer Marcel. Something is rotten in Denmark, in Catalonia, in Spain, in Europe, all over the world. The pandemic has left us naked and has left us with no doubt that the climate emergency and the imbalances of all kinds that mass consumption has caused on the planet are irreversible. We can only stop, look at our table full of corpses and bones, and act to conjure ourselves up, stop savage and predatory capitalism, think of our world, and avoid the catastrophe that we have on our side every day and that the pandemic does not cease to remind us.<\/p>\n\n\n\n

This is what the magnificent poster that Pere Noguera (La Bisbal, 1941) has made for this new edition of Temporada Alta, which celebrates its 30th anniversary in 2021, suggests to me! Pere Noguera has returned to the theater. In a radical and forceful way, as he usually does in his work, with his new work Nodrir<\/em>. Vacamorta \u00e9s la materia<\/em> (2021), Pere Noguera puts a mirror in front of us and makes a contemplation without contemplation of our hypocritical and unconscious society that seems unwilling to accept reality, unwilling to look at what we have on the table.<\/p>\n\n\n\n

Although Nodrir<\/em> is a new work, the elements that make up the piece are part of the elements that make up the artistic language of Pere Noguera for more than fifty years. Two fashion chairs, a wooden table, animal bones and clay dust. Like a rain of mud, an essential element of the work of the artist from La Bisbal, the pandemic has dyed our vision of reality, it has changed our vision of the world.<\/p>\n\n\n\n

The title, Nodrir<\/em> is still a paradox, a misunderstanding, a game of language that Noguera likes so much. Naturally, feeding us a bunch of animal bones is one of the most challenging things in the world. We eat our flesh and leave our bones. As for the subtitle, Vacamorta \u00e9s la materia<\/em>, it is a reference to the world that is part of the symbolic and material environment of Pere Noguera.<\/p>\n<\/div>\n<\/div>\n\n\n\n

For many years, Pere had a studio near Cru\u00eflles. And he did various actions on the Terrera Trayter, also known as Vacamorta by the local farmers, because of the large number of animal bones that were there. In the Vacamorta wetland, in Cru\u00eflles, he performed the action Esquelets flotants per un rep\u00e0s a l\u2019aigua<\/em>, in October 1985. And the bones of animals stacked or scattered form one of the essential elements of several installations he has made in Noguera, such as Esquelets de balan\u00e7a<\/em>, in the exhibition Llacs, illes, pedrals i morts<\/em>,, at the Palau de la Virreina, 1996; El color m\u2019afecta<\/em>, at the Fundaci\u00f3 Espais de Girona, 1999, or Mundial (Revestir\/Revestiment)<\/em>, Edifici Mundial, La Bisbal d\u2019Empord\u00e0, 2004.<\/p>\n\n\n\n

We can now see a good number of the most significant works by Pere Noguera, in the large exhibition dedicated to the Rafael Tous collection of conceptual art at the MACBA. But we haven\u2019t seen Pere Noguera\u2019s sets in the theater for a long time. I still remember the wonderful Rosa Novell, in Oh, els bons dies<\/em> by Samuel Beckett, in 1984, reciting the great text of the Irishman, sunk in a barren field, a desert of sand and clay, created by Pere Noguera. Or the long-lost Quim Lecina, dragging river stones, while saying the paradoxical and cynical extraordinary text of Fernando Pessoa, from El banquer anarquista<\/em>, in 1989. He still, together with Pep Duran, did the scenography for a few shows directed by the beloved and ill-fated Mois\u00e8s Maicas, such as Gran imprecaci\u00f3 davant la muralla de la ciutat<\/em>, by Tankred Dorst, in 1989; L\u2019Alfa Romeo i Julieta i altres obres<\/em>, by Josep Palau i Fabre, in 1991, or El pop o la visi\u00f3 hyrcanesa del m\u00f3n<\/em>, by Stanislaw Ignacy Witkiewicz, in 1994. And he has made some unique interventions such as Flama horitzontal<\/em>,, at the Teatre Principal of Olot, in 2000.<\/p>\n\n\n\n

That\u2019s why I celebrate that Temporada Alta wanted to commission Pere Noguera for the 30th anniversary of the Festival. Undoubtedly, the work proposed by the artist does not tell us about a domesticated and soft theater, but rather a theater committed and critical of reality. Surely, after the hardest moments of lockdown and the pandemic, Temporada Alta will once again offer us those magical and unrepeatable moments that fascinate us so much about the good and great theater of the world.<\/p>\n\n\n\n

Manuel Guerrero Brullet<\/strong><\/p>\n\n\n\n

Pere Noguera (La Bisbal d\u2019Empord\u00e0, 1941)<\/strong><\/h3>\n\n\n\n

La fotocopia com a obra document <\/em>(La Sala Vin\u00e7on, Barcelona, 1975), Arxiu-S\u00e8rie Massanet <\/em>(Galeria Massanet, L\u2019Escala, 1977), La Terrissa de la Bisbal l\u2019argila com a mat\u00e8ria, el proc\u00e9s d\u2019elaboraci\u00f3 com a pr\u00e0ctica <\/em>(Fundaci\u00f3 Joan Mir\u00f3, Barcelona, 1978). Three paradigmatic exhibitions in which he foreshadows what the Nucli Noguera will be: The Matter and the common object as thought. Photographic and film archives disturbed as research. Technology (printer, scanner\u2026) as a cooperating medium in the exhaustive exploration of the image. Naturally, between 1979 and 1980, his work related to clay evolved into the practice of mud-making, which consists of covering or dusting spaces and objects with mud. makes the first major site installations, opens up to the energy of nature, gets involved with the landscape, which will be a new persistent trigger in his work. During the 80\u2019s and 90\u2019s he made several sets, among which we highlight OH, Samuel Beckett\u2019s Bons dies directed by Jos\u00e9 Sanchiz Sinisterra in 1984 included in Isidre Bravo\u2019s L\u2019escenografia Catalana (Diputaci\u00f3 de Barcelona, 1986).<\/p>\n\n\n\n

Irony, intuition, chance, training and play, validate the wide and multifaceted trajectory where the multiple registers such as the installation, the photographic process, the video, the art of action, the theatrical scenography, the non-formal pedagogy they form an extensive artistic task. He was a founding member of Metronome. From 1997 to 2006 he directed the museography work and the staging of the collection at the Terracotta Museum in La Bisbal d\u2019Empord\u00e0.<\/p>\n\n\n\n

Last year, the exhibition A tot li cal una paret curated by Vicen\u00e7 Altai\u00f3 was shown in the Espais VOLART of the Fundaci\u00f3 Vila Casas and his work is currently present in the exhibition TEMPS REAL. The Rafael Tous Collection of Conceptual Art at the Museum of Contemporary Art in Barcelona, the result of a donation made by the collector to the museum in February 2020.<\/p>\n\n\n\n

Selected works: Exposicions (Ex), instal\u00b7lacions (I), accions (A), escenografia (E): 2018 pentagrama vertical \u2013 Pluja de terra l\u00edquida \u2013 Donar la m\u00e0 acci\u00f3<\/em> (A-I), 2n Cicle d\u2019intervencions art\u00edstiques a la caseta el\u00e8ctrica de la Pletera, l\u2019Estartit \/ 2017 Leer es el inicio<\/em> (Ex), Galeria Jose de la Mano, Madrid \/ 2012 Paper Carb\u00f3 S\u00e8rie\u2013Arxiu Fam\u00edlia Guerra<\/em> (I) MUME, La Jonquera \/ 2011 Hist\u00f2ries d\u2019arxiu<\/em> (Ex) Fundaci\u00f3 Antoni T\u00e0pies, Bcn \/ 2008 Il peperoni del silenzio<\/em> (A) Bolognano (Italia) \/ 2004 Allophane <\/em>(I) Zwalm (Belgica) \/ 2001 M\u00e9s tot all\u00f2\/dibuix a la cuixa<\/em> (E) Centre d\u2019Art Santa M\u00f2nica, Bcn \/ 2000 Flama horitzontal<\/em> (E), Teatre Principal d\u2019Olot \/ 1999 El color m\u2019afecta <\/em>(I) Fundaci\u00f3 Espais, Girona \/ 1998 Despr\u00e9s de l\u2019acci\u00f3<\/em> (A) MACBA, Bcn \/ 1996 Llacs, illes, pedrals i morts<\/em> (E) Palau de la Virreina, Bcn \/ 1994 El pop o la visi\u00f3 hyrkanesa del m\u00f3n<\/em> (E) de Stanislaw Ignacy Witkiewicz, Teatre Invisible.\/ 1994 364 segons<\/em> (A) MNCARS, Madrid \/ 1993 El motiu \u00e9s secret<\/em> (A) Revista Parlada, Jard\u00ed de la casa de Jordi Benito, Bcn \/ 1992 Com si<\/em> (I) Baden-Baden (Alemanya ) \/ Amazonia-preserva\u00e7ao. 5 estrellas radio taxi 2294799<\/em> (I) Bel\u00e9m (Brasil) \/ 1991 L\u2019alfa Romeo i Julieta i altres obres<\/em> (E) de Josep Palau i Fabre, Teatre Invisible \/ 1989 El banquer anarquista<\/em> (E) de Fernando Pessoa, Teatre Invisible \/ 1989 Gran imprecaci\u00f3 davant la muralla de la ciutat <\/em>(E) de Tankred Dorst, Zitzania Teatre \/ 1988 Revolt de torrent<\/em> (I) Metr\u00f2nom, Bcn \/ 1984 Torens van babel<\/em> (I) Anvers (B\u00e8lgica) \/ 1984 Oh, els bons dies<\/em> (E), de Samuel Beckett \/ 1984, Tr\u00e0nsit <\/em>(I) Rambla de Santa M\u00f2nica, Bcn \/ 1983 fe2 o3<\/em> (I) Metr\u00f2nom, Barcelona \/ 1982 Passage de securit\u00e9<\/em> (I) Centre George Pompidou, Paris (Fr) \/ 1982 Horitzontal<\/em> (I) MHCG, Girona \/ 1982 Museu ficci\u00f3<\/em> (I) Olot \/ 1981 h2o (A) Li\u00f3 (Fr) \/ 1980 La visita ets tu \u2026 i els teus accessoris (<\/em>I) Galeria Canaleta, Figueres \/ Prop de la terra<\/em> (I \u2013 A) Terrera Trayter, Vacamorta-Cru\u00eflles.<\/p>\n\n\n\n

Download the poster<\/strong><\/a><\/p>\n\n\n\n

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Short Film: Alop\u00e8cia androg\u00e8nica<\/strong><\/h3>\n\n\n\n

This project began two years ago, just before my daughter Athena was born, and during an autofiction writing workshop given by playwright Sergio Blanco in Sala Beckett.<\/p>\n\n\n\n

As a new student, I can say that focusing on the self is a very difficult thing that I have never done before and that I will probably never do again. From then on, however, I was clear that I needed to talk about the inevitable tension between creation and procreation, and therefore about growing up, being a father, being a child, and being or not being an artist.<\/p>\n\n\n\n

So, I come up with ideas, and to see them flush it out, it\u2019s really fun. I was interested in talking about genetic inheritance and historical inheritance, which was born in Greece twenty-five centuries ago, and from which we cannot escape. Redeem me, pay homage to the theater and celebrate the 30th anniversary of the festival.<\/p>\n\n\n\n

Redimir-me, fer un homenatge al teatre i celebrar que el festival ha fet 30 anys.<\/p>\n<\/div>\n\n\n\n

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Sure, there are too many things to fit in a short film, but this is the result of an imperfect journey that I have been able to make thanks to the people I have met over the ten years that I have directed the Temporada Alta spots, and they are they who have somehow marked the end result.<\/p>\n\n\n\n

Although everything here may be a lie, a truth, or both, I can assure you that I have tried to do so with the utmost honesty, modesty, and courage, virtues that I do not have in abundance.<\/p>\n\n\n\n

Salvador Sunyer i Vidal \/ director of the short film<\/strong><\/p>\n\n\n\n

FITXA ART\u00cdSTICA \/ T\u00c8CNICA<\/u><\/strong><\/p>\n\n\n\n

Director: <\/strong>Salvador Sunyer
Screenplay: <\/strong>Salvador Sunyer and V\u00edctor Santacana
Cast: <\/strong>Salvador Sunyer, Sergio Blanco, Laura Weissmahr, Guillem Barbosa, Andr\u00e9s Mellinas, Thanasis Nakos, Serkan Aygin and Athena Sunyer
With the collaboration of<\/strong> Eduard Sola
Original Score: <\/strong>Rigoberta Bandini, Diego Pedragosa, Sergio Bertran and Miquel Mestres
Executive Producer: <\/strong>Arnau Soria
Cinematography: <\/strong>Toni Vidal
Sound: <\/strong>David Gasc\u00f3n and Guillem Carvajal
Art Director: <\/strong>Yaiza Ares
Custome: <\/strong>Paula L\u00f3pez de Murillas
Editor: <\/strong>Marc Roca, Mart\u00ed Blanch\u00e9, Edici\u00f3 Trailer, V\u00edctor Diago
Colour: <\/strong>Llu\u00eds Velamaz\u00e1n
Sound Design: <\/strong>Oriol Donat
VFX: <\/strong>Nico Zarza, V\u00edctor Duque Allen and Francisco Fern\u00e1dez
Graphic Design: <\/strong>Marc Sancho (Querida) and Albert Estruch (Querida)<\/p>\n\n\n\n

A Temporada Alta 2021 & Ma\u00f1ana Production
in collaboration of Querida<\/strong><\/p>\n\n\n\n

AWARDS<\/strong><\/p>\n\n\n\n

Laus d\u2019Or<\/strong> in the audovisual category (2022)
Best Short Movie in the Festival FICCAT<\/strong> (Festival Internacional de Cinema en Catal\u00e0 de la Costa Daurada \u2013 Roda de Ber\u00e0) (2022)
Best Spanish Short Movie at FICBUEU <\/strong>(Festival Internacional de Cortometrajes) (2022)<\/p>\n\n\n\n

FESTIVALS<\/strong><\/p>\n\n\n\n

D\u2019A Film Festival <\/strong>Barcelona \u2013<\/strong> April 2022
FIC-Cat \u2013 Festival Internacional en Catal\u00e0 \u2013<\/strong> June 2022
Festival de Curtmetratges de Manlleu \u2013<\/strong> July 2022
FICBUEU \u2013 Festival Internacional de Cortometrajes \u2013<\/strong> September 2022
Menorca Doc Fest \u2013<\/strong> October 2022
Evolution Film Festival Mallorca \u2013<\/strong> October 2022<\/p>\n\n\n\n

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