{"id":98261,"date":"2024-11-14T16:57:49","date_gmt":"2024-11-14T15:57:49","guid":{"rendered":"https:\/\/temporada-alta.com\/?page_id=98261"},"modified":"2025-02-24T12:41:36","modified_gmt":"2025-02-24T11:41:36","slug":"2018-edition","status":"publish","type":"page","link":"https:\/\/temporada-alta.com\/en\/2018-edition\/","title":{"rendered":"2018 Edition"},"content":{"rendered":"<div id=\"modal-ready\">\n<h2 class=\"wp-block-heading\">100 shows, 100 voices&nbsp;<\/h2>\n\n\n\n<p>We\u2019ve reached our 27th festival with a powerful schedule from different genres and fields geared towards all kinds of audiences, with the desire to remain a flagship event on the national, state and European stages. We continue to excel as a significant driving force in scenic creation and we have positioned ourselves as one of the main sources of production and creation in our country.<br><br>In addition, Temporada Alta 2018 will seek to express its support for freedom of expression and, at the same time, provide an open door for any discordant voices which are sometimes silenced. In this regard, the Festival will take the pulse of society and schedule a wide range of productions to reflect our current-day society, in which voices very different from those of the predominant discourses will be heard.<\/p>\n\n\n\n<p>We are thus establishing ourselves as one of the main platforms for the exhibition and production of performing arts in Southern Europe, with the following lines of action:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>To become an important springboard to showcase the very best the European stage has to offer (Oskaras Korsunovas, Alain Platel, Jan Lauwers, Jan Fabre, etc.) and a gateway for the best Latin American drama, with the consolidation of cycles such as the Latin American Connection and the Flanders Connection<\/li>\n\n\n\n<li>To be one of the main powerhouses of scenic creation with 23 productions and co-productions, including 3 international co-productions with leading stage names (Guy Cassiers, Claudio Tolcachir and Rimini Protokol) and shows with many of the main figures on the national scene, including \u00c0lex Rigola, Sergi Belbel and Carol L\u00f3pez.<\/li>\n\n\n\n<li>To provide a platform for national talent by supporting the country\u2019s creators in a schedule based on texts by Catalan authors, promoting new creation and programming as many as 58 Catalan proposals (Cl\u00e0udia Rovira, Ang\u00e9lica Liddel, Joan Yago, Cl\u00e0udia Ced\u00f3, Marta Buchaca, etc.) this year.<\/li>\n\n\n\n<li>To consolidate the <em>A Tempo \u2013 Arts i Formaci\u00f3<\/em> socio-educational programme, whose aim is to enhance the educational aspect of the Festival through the La Ciudad Invisible Foundation, introducing Temporada Alta to schools.<\/li>\n\n\n\n<li>To be a meeting point for artists and programmers while consolidating the Festival as a showcase for contemporary creation.<\/li>\n\n\n\n<li>To become a Festival for all kinds of audiences, programming different proposals from diverse artistic fields and great names from the musical world (Rosario, Albert Pla, Maria Arnal, Marcel Bag\u00e8s, etc.) and the cinema.<\/li>\n<\/ul>\n\n\n\n<p><em>Isabella\u2019s room<\/em> by Jan Lauwers &amp; Needcompany is the proposal set to open the festival, which will put on a total of <strong>97 shows from 5 October to 10 December.<\/strong><\/p>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-a89b3969 wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-black-color has-white-background-color has-text-color has-background has-link-color wp-element-button\" href=\"https:\/\/temporada-alta.com\/events\/categoria\/2018\/\" style=\"border-width:1px\" rel=\" nofollow\">2018 programme<\/a><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center has-white-color has-black-background-color has-text-color has-background has-link-color wp-elements-2f72688b31279bc7dba1e65517a76519 is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"354\" src=\"https:\/\/temporada-alta.com\/wp-content\/uploads\/camargo1.jpg\" alt=\"\" class=\"wp-image-5414\" srcset=\"https:\/\/temporada-alta.com\/wp-content\/uploads\/camargo1.jpg 600w, https:\/\/temporada-alta.com\/wp-content\/uploads\/camargo1-300x177.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<h2 class=\"wp-block-heading has-text-align-center has-white-color has-text-color has-link-color wp-elements-181ace5300962047491e615e95146bc9\"><strong>Documents<\/strong><\/h2>\n\n\n\n<div class=\"wp-block-buttons is-vertical is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-0a0d504e wp-block-buttons-is-layout-flex\" style=\"margin-top:0;margin-bottom:0\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/drive.google.com\/file\/d\/1kHg2VxtWrixxMoGOwqy0GqRcwEUro03s\/view\" style=\"border-width:1px\">presentation dossier<\/a><\/div>\n\n\n\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link wp-element-button\" style=\"border-width:1px\">closing balance<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image alignright size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"892\" src=\"https:\/\/temporada-alta.com\/wp-content\/uploads\/CartellTA18.jpg\" alt=\"\" class=\"wp-image-34431\" style=\"width:423px;height:auto\" srcset=\"https:\/\/temporada-alta.com\/wp-content\/uploads\/CartellTA18.jpg 640w, https:\/\/temporada-alta.com\/wp-content\/uploads\/CartellTA18-215x300.jpg 215w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<h2 class=\"wp-block-heading\"><strong>Poster: Carmen Calvo<\/strong><\/h2>\n\n\n\n<p><strong>El gran vouyer del teatre<\/strong><\/p>\n\n\n\n<p>Carmen Calvo accepted the commission for this edition of the \u201cTemporada Alta\u201d festival\u2019s poster with great enthusiasm: \u201cmy travelling companions on this journey are just wonderful\u201d, says Carmen Calvo, referring to the other artists who have preceded her, including \u201cthe Grand Master\u201d, Antoni T\u00e0pies. She emphasises, \u201cinfluences are what allow artists to go forward\u201d.<br>Influences are of also of great importance when it comes to commenting on the image this year\u2019s poster image: the blindfolded female figure makes reference to the sculptures created by Joan Mir\u00f3 incorporating various everyday objects. Carmen Calvo\u2019s woman is composed of a mannequin\u2019s head and a bench.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>As one of the legs of the bench is broken, the artist propped it up with a box and two more pieces of wood. \u201cI didn\u2019t focus on one specific sculpture by Joan Mir\u00f3, but they form part of the story\u201d. Calvo explains that images of works of art which have particularly drawn her attention, like those of Joan Mir\u00f3, hang on the walls of her workshop, her travelling companions in her work and her inspiration. \u201cI always like to state my influences. There were artists before Mir\u00f3 who worked with objects, but I like his work and I like to look at the examples I have surrounding me\u201d says the artist.<\/p>\n\n\n\n<p>Carmen Calvo\u2019s figure is also full of mystery: Why is she blindfolded? How did the leg of the bench get broken? Who propped it up with the box and pieces of wood? The traces left by all these actions add a layer of intrigue to the final result, and one might think that the composition is the fruit of a brief work of Object Theatre. What is more, the work has another layer: to create the poster Carmen Calvo has chosen a past work, unseen before in Spain. She exhibited it in Geneva and it currently belongs to a Turkish collector. It would be wonderful to see the collector\u2019s face when they see the work on banners and the rest of the festival materials. Even so, Carmen Calvo concentrates all these actions into two interpretations: the theatrical character \u2013 \u201cis what takes on importance,\u201d she explains \u2013 and the very essence of the theatrical performance: \u201cI think my piece is just right for the festival. This woman who looks but cannot see, is really the way in which theatre is watched. It is the look of the voyeur, of the spectator. She is basically the great theatre voyeur.\u201d<\/p>\n\n\n\n<p>The past materials that appear in the works of Carmen Calvo are redressed with an up to date layer, since they were used to debate personal rituals which are still celebrated, such as \u201cweddings and communions\u201d and different \u201csocial strata\u201d. In the area of the theatre, the artist also plays with time: she is interested in companies of her own generation such as Els Joglars and La Fura dels Baus, but also in the deepest roots of the theatre: \u201cI love the theatre itself, but I also refer to ancient theatre and opera, through which the theatre came into being. Also in celebrations like the Misteri d\u2019Elx, which was one of the earliest stage sets.\u201d<\/p>\n\n\n\n<p>Regarding her experience in the theatrical world, it cannot be said that she has designed a stage set but she did give permission for some of her works to accompany a reading of texts by Rafael Chirbes, called \u2018Ese hombre tiene un mundo en su cabeza\u2019\u2019, at the Festival 10 Sentidos in May. \u201cI think that when any artist is performing a work, they are aware of the stage set,\u201d says Calco.<\/p>\n\n\n\n<p>Carmen Calvo represented Spain at the Biennal de Ven\u00e8cia d\u2019art in 1997, together with the poet, playwright and artist, Joan Brossa. \u201cI liked the idea that Vict\u00f2ria Combalia had to display two artists, who share an objectual world but who are very different from each other, in the same show,\u201d says Calvo. For Calvo, Brossa was a \u201cgreat poet\u201d and underlines the \u201cconceptual\u201d aspect of his work. \u201cObjects have always been present since the most ancient paintings. And Brossa, after Duchamp, has said all that can be said about objects\u201d.<\/p>\n\n\n\n<p><strong>Antoni Ribas Tur<\/strong><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Carmen Calvo Sa\u00e9nz de Tejada<\/h3>\n\n\n\n<p>Born in Valencia in 1950, Carmen Calvo trained at the School of Arts and Crafts of the Superior School of Fine Arts in Valencia. In 1985 she received a scholarship from the Spanish Ministry of Foreign Affairs and relocated to Paris. Also during the 1980s, her work formed part of the \u2018New images from Spain\u2019 exhibition at the Guggenheim Museum of New York, and also of the first edition of the ARCO fair, under the curatorship of the Fernando Vijande gallery.<\/p>\n\n\n\n<p>Amongst the most important exhibitions by the artist, at an institutional level, are the anthology which IVAM dedicated to her in the 1990\u2019s, her exhibition at the Spanish Pavilion of the Biennal de Ven\u00e8cia d\u2019art in 1997, shared with Joan Brossa, and her show at the Palacio de Vel\u00e1zquez in 2003. Amongst the awards she has received during her career are the Premio Nacional d\u2019arts pl\u00e0stiques (2013). The minutes of the award give some insight into of the key features of her work, such as \u201cresearch into the role of the image in the construction of subjective and historical identity\u201d and \u201creflection on how the memory permeates objects\u201d. In parallel to the influences of Pop Art, Arte Povera and Informalism, Carmen Calvo explores topical issues in her works, such as violence in society and the social rites which prolong this relationship every generation.<\/p>\n\n\n\n<p>Carmen Calvo\u2019s work is present in important Catalan, Spanish and International collections, such as the Museu Espanyol d\u2019Art Contemporani, the Fundaci\u00f3 Josep Su\u00f1ol, the Guggenheim Museum of New York and the Museu Reina Sofia. It also forms part of collections such as the Col\u00b7lecci\u00f3 La Caixa d\u2019art contemporani, the IVAM, the MACBA, the Centre Atl\u00e0ntic d\u2019Art Modern and the Fundaci\u00f3 Sorigu\u00e9.<\/p>\n\n\n\n<p><a href=\"https:\/\/drive.google.com\/file\/d\/1QzyiZO9XoqTCyTnMtcPiL3jdCJFo3lrf\/view?usp=sharing\"><strong>Download poster<\/strong><\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Short film:&nbsp;<em>La voz de Espa\u00f1a<\/em><\/strong><\/h2>\n\n\n\n<p><strong>Nota del director<\/strong><\/p>\n\n\n\n<p>In 1971 the song <em>Soy Rebelde<\/em> (I\u2019m a Rebel) came out in Spain, performed by Jeanette, a girl with doleful eyes and a melancholic air.&nbsp;<br>The song was a global hit and became a feminist anthem in Latin America and girls under 16 in Spain were banned from listening to it.<br>Thus, within a still very sombre context, a girl who exuded a sheepish meekness sang <em>Soy Rebelde<\/em> and people were attracted, I think, by a desire for a distant, almost forgotten and illusory form of rebellion. As if she represented the sad image of a lost paradise.<br>Today, 50 years later, we are astonished to realize that this country is no longer the one where <em>Soy Rebelde<\/em> could be sung in a brothel and dressed as a priest, as Albert Pla did in the film <em>Airbag<\/em> (1997).<\/p>\n\n\n\n<p>Instead, we find ourselves back in a space\/time in which the whole of society has been enchanted by a girl with doleful eyes capable of innocently representing that image of rebelliousness we can once again see, distant and blurred.<\/p>\n\n\n\n<p>This year, 2018, having surely witnessed the biggest decline in freedoms since the Franco dictatorship, another young and carefree girl has won the popular <em>Operaci\u00f3n Triunfo<\/em> reality show and, soon afterwards, represented Spain at the Eurovision Song Contest.<\/p>\n\n\n\n<p>Amaia has a brutal scenic and musical talent but, above all, she radiates truth. At a time when movements are monitored, when we all think about the consequences of our actions and fear has managed to filter into each home, she dares to leave her armpits unshaven, she farts on prime time TV and, if necessary, faces up to the most antiquated guardians of the old country without surrendering a gramme of tenderness.<\/p>\n\n\n\n<p>In my view, she represents a natural kind of non-conformity in the face of the great struggles which are lost or still to be won in this country, as well as the inherent potency of youth in addressing them, which is why so many people from all spheres have fallen in love with her.<\/p>\n\n\n\n<p>As an anecdotal example, I\u2019d like to mention that she performed the song five times during the filming and cried as she did so each time. I\u2019ve never asked her why because I think it\u2019s much nicer to imagine the reason.<\/p>\n\n\n\n<p><strong>Salvador Sunyer Vidal<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&quot;La Voz de Espa\u00f1a&quot; - Temporada Alta 2018\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/kS9TIRbi134?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>ARTISTIC TEAM<br><\/strong><strong><br>\u201cLa voz de Espa\u00f1a\u201d<br><\/strong><strong>Amb Amaia Romero<\/strong><\/p>\n\n\n\n<p><strong>Directed by<\/strong>: Salvador Sunyer<\/p>\n\n\n\n<p><strong>Written by<\/strong>: Salvador Sunyer and V\u00edctor Santacana<\/p>\n\n\n\n<p><strong>Produced by<\/strong>: 2018 High Season and Nanouk Films<\/p>\n\n\n\n<p><strong>Presenter<\/strong>: Francisco Jos\u00e9 Ruiz Garc\u00eda<\/p>\n\n\n\n<p><strong>Choreography<\/strong>: Garazi Beloki<\/p>\n\n\n\n<p><strong>Ballerinas<\/strong>: Garazi Beloki, Elea Sidonie, Carolina Fabiana<\/p>\n\n\n\n<p><strong>Piano<\/strong>: Carles Pedragosa<\/p>\n\n\n\n<p><strong>Trumpet<\/strong>: Pol Padr\u00f3s<\/p>\n\n\n\n<p><strong>Trombone<\/strong>: Josep Blanes<\/p>\n\n\n\n<p><strong>Guitarist<\/strong>: Joan Hern\u00e1ndez<\/p>\n\n\n\n<p><strong>Casting<\/strong>: White Javaloy<\/p>\n\n\n\n<p><strong>Executive production<\/strong>: Xavi Toll and Andr\u00e9s Mellinas<\/p>\n\n\n\n<p><strong>Production Director<\/strong>: Xavi Toll<\/p>\n\n\n\n<p><strong>Production manager<\/strong>: Javier de la Llave<\/p>\n\n\n\n<p><strong>Director of photography<\/strong>: Elias M.F\u00e8lix<\/p>\n\n\n\n<p><strong>Head of TV production<\/strong>: Llu\u00eds Maym\u00f3<\/p>\n\n\n\n<p><strong>Art director<\/strong>: Judit Ferrer<\/p>\n\n\n\n<p><strong>Conception and creation of the visuals<\/strong>: Josep Prats Sorolla<\/p>\n\n\n\n<p><strong>Costumes<\/strong>: Alexandra Nicolau<\/p>\n\n\n\n<p><strong>Makeup and hairdressing<\/strong>: Cristina Canes<\/p>\n\n\n\n<p><strong>Editor<\/strong>: Mart\u00ed Blanch\u00e9<\/p>\n\n\n\n<p><strong>Graphic design<\/strong>: Francisca Torres<\/p>\n\n\n\n<p><strong>Sound Studio<\/strong>: Sewing and Singing Studio<\/p>\n\n\n\n<p><strong>Arranger<\/strong>: Carles Pedragosa<\/p>\n\n\n\n<p><strong>Original Music<\/strong>: \u2018Soy Rebelde\u2019<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>100 shows, 100 voices&nbsp; We\u2019ve reached our 27th festival with a powerful schedule from different genres and fields&#8230;<\/p>\n","protected":false},"author":35132,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-98261","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>2018 Edition - Temporada Alta<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/temporada-alta.com\/en\/2018-edition\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2018 Edition - Temporada Alta\" \/>\n<meta property=\"og:description\" content=\"100 shows, 100 voices&nbsp; 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