THE RED LINE
Of the 3 predesigned lines, this is the most complete and dynamic one with 5 seemingly distinct pieces, but well bound in a single dramaturgical concept: self-surpassion, individually and collectively. It shows us how sometimes one may need other people to overcome situations or how, sometimes, individuality it can make us stronger or it can weaken us.
From group pieces with contemporary electronic music, to more introverted pieces or classics within music history such as a Ravel; all together, it becomes a little journey in each of the pieces, which serve as well as a contrast between themselves to make it a dynamic and versatile entertainment with an important artistic and cultural richness.
The entire aesthetic of the event is marked by the gray and flesh colors contrasted with red details that identify both pieces and the program itself.
Originally, this work was created in late 2019 at the Royal Ballet Amberes (Belgium), but the premiere, scheduled for June 2020, was never held due to the pandemic and never recovered due to high schedule commitments. Therefore, Me is the only piece in the program that is an absolute premiere.
This piece, about 10 minutes long, shows the interrelationship between 5 people who share a goal, and we see them moving from individualism to common help to achieve it.
With Benjamin Britten's powerful music for string quartet, it is a very dynamic start to the evening.
In 2018, the historic Dutch dance company Scapino Ballet Rotterdam invited G. Font for its Twools creations program. The new creation, Norai, shows us how two people believe in a path, they share it, but it's too late for them to see that by sharing it, they have lost the common goal they had before.
With an aesthetic marked by set, energetic choreography and music composed by G. Font, Norai is a trepidating piece that represented the beginning of a continued collaboration between G. Font and the Dutch company.
In co-production with Grec Festival de Barcelona 2017, Aire is the largest production that G. Font has ever directed in Catalonia. Released in the large room of the Market of Flowers and in collaboration with national and international entities such as L'Estruch Fàbrica de Creació (artist residence), IEDSchool (design of the Costume), Grismedio Productions (Audiovisuals) and Cor Ciutat de Mataró (Live Music) was G. Font's letter of presentation in the international field as creator of great productions and thus widening the market that had already begun to open.
With a dramaturgical between religious and scientific, the piece is about what happens beyond what we call death. BLANK PAGE presents us with a 15-minute excerpt with an aesthetic very marked by visual coldness and with a physical language in which the high physical strength of the soloist who interprets it can be palpable.
The Red Purse is undoubtedly the piece that opened its doors to Habemus Corpus and to G. Font itself worldwide in 2014. Awarded with more than a dozen national and international awards such as First Prize and the public award of the Sabadell choreographic event, first prize in choreography and performance of the Solo Tanz-Theater Stuttgart, the Jerusalem Dance week 2014, the representative prize of Lucky Trimmer Berlin, was invited to many festivals and events, including Greek 16 (Barcelona), W3 Hamburg (Germany), Alte Rumfabrik Basel (Switzerland), among others. It tells the story of how a couple meet and create a utopian future until something unexpected happens: An involuntary abortion. From here comes a sensory X-ray of what happens within the two progenitors during this grief.
Out of excessive sensitivity and an interpretation by early international figures, The Red Purse is the strongest dish in the dramatic setting of the evening.
The evening ends with a tribute to Maurice Béjart, with whom G. Font worked as a dancer at the beginning of his career. This piece originally created by a cast of 20 dancers can be seen in its original version on THE EMERALD LINE, but has been redesigned by THE RED LINE with a minor cast, where the individual quality overlaps the number of dancers on stage, and thus adapted to the context of the evening.
This tribute with a choreography as powerful as Ravel's own Bólero is the conclusion that it brings the final euphoria of the evening and ensures a good aftertaste when it comes out of the collection of five such diverse pieces.
The reason for THE RED LINE
Out of the program's playwright, through this combination of five pieces, Habemus Corpus attempts to approximate the culture of qualities with international credentials to the public who do not have easy access to them. It also seeks to establish closeness between audience and artists through activities or conferences and make international dance be not so far, but accessible within the field where it has been born.
Program's philosophy
As through any variant of the BLANK PAGE program, Habemus Corpus wants to approach dance knowledge to groups, sectors and audience that do not have much access to it, so HC has designed this program with a major ease in to putting it on stage, too. The Red Line, in this sense, is the best possible combination, both for the dimensions that the selected pieces require and for ease of technical setting up, costs for the small staff it carries, etc.
A relevant factor is also the coordination between different theatres or entities that would like to programme it. If several of them agreed to coordinate programming in a not-too-distant area (e.g. several small villages in a rural sector) this would reduce the costs considerably on the part of the programming entity.
Technical needs
The Red Line, being a varied program, is not a carrier of major set design or complex installations that require a long assembly time, as everything is intended to be mounted on the same day of the performance, having a pre-mounting established prior to the arrival of the company and internal technical equipment of the theatre or location where it is meant to be performed. For more details on the technical section you can request the technical file at management@habemuscorpus.com.
Depending on the coordination of programming entities or the number of scheduled performances, the company offers several extra activities aimed at different groups as well:
Coproducers and collaborators