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Greco 09 of Barcelona
June 20 - August 2, 2009
Various Locations in Barcelona

Photographed by Katherin Wermke

Opposite Photo:
Les Dones-i-Shakespeare

New York Cool photographer Katherin Wermke is presently living and working in Barcelona, Spain where she attended Greco 09 - Barcelona's massive arts festival. The festival is named after the amphtheater Grec in Barcelona which is located on Barcelona's mountain Montjuic. Here are her photos with information about the festival gleaned from the festival's press release.

Dance:


Les Dones-i-Shakespeare


Les Dones-i-Shakespeare

Les dones i Shakespeare
Cia. Trànsit Dansa Maria Rovira

Ophelia (Hamlet), Isabella (Measure for Measure), Katharina (The Taming of the Shrew) and Miranda (The Tempest) are the women through whom the Shakespearian feminine universe will be brought to life on stage. This show, created by the choreographer Maria Rovira, takes the form of a series of solos whose common denominator is dance, but in which each woman/dancer uses different resources to create her composition: song, live music, voice off or videomontage projection.



Dance:



IT-Dansa


IT-Dansa


IT-Dansa

IT Dansa
Jove Companyia de l’Institut del Teatre

IT Dansa is a recently-established dance company that has already built up a solid reputation thanks to the group's outstanding productions and excellent dancers, who have already clocked up more than 200 performances at venues all over Catalonia, Spain and Europe. At Grec'09, this young, highly professional company will present a programme of works by three renowned choreographers, part of an educational project promoted by Barcelona Theatre Institute: Mozart's Sechs Tänze, reworked in entertaining, ironic style by Jirí Kylián; I Like Five, created for IT Dansa by Stjin Celis; and Minus 16, a hugely expressive piece by Ohad Naharin, Israel's most outstanding and influential choreographer today.


Music:


Roberto Fonseca

Roberto Fonseca

We first met him as the pianist in Buena Vista Social Club, when his mentor was the great Ibrahim Ferrer, and though he can point to solid professional career going back over fifteen years, it is only recently, since the release of his debut album Zamazu, that Fonseca has been recognised as one of the finest instrumentalists ever to come out of Cuba, as well as a composer and arranger with his own clear, individual style, precise and emotive. Roberto Fonseca makes intimate, personal music dominated by a sound that he himself describes as "cubafricanjazz". Others, unsurprisingly perhaps, have referred to this sound as "the new Cuban magic"...


Music:


Mayte Martín (IT’S A WOMAN!!)

Mayte Martín
alCANTARaMANUEL

alCANTARaMANUEL was born of my love of manuel alcántara's work, from my absolute connection with his intimate, lyrical poems. to enable each poem to live in the sound habitat that and felt was natural to it, and put all my languages for feeling at the service of this great beauty, all my freedom and all my absence of prejudices. because flamenco was already living in manuel's pen and in the oldest roots of my soul, this project was born and raised freely, so imperiously free that there was never even any thought about the need to escape from labels that might restrict beauty. another sound truth that will remain floating in the air forever. thanks to everyone for wanting to breathe it with me. Mayte Martín


Theater:


Sogno-di-una-notte-di-mezza-estate


Sogno-di-una-notte-di-mezza-estate


Sogno-di-una-notte-di-mezza-estate


Sogno-di-una-notte-di-mezza-estate


Sogno-di-una-notte-di-mezza-estate

Sogno di una notte di mezza estate by William Shakespeare

This version of A Midsummer Night's Dream, one of William Shakespeare's most beautiful and mysterious comedies, is brought to us by the great Italian master Luca Ronconi, accompanied by a group of young actors, ideal for recreating the amorous adventures of Helena, Lysander and Demetrius. This is a comedy in which the characters' each and every line emanates the joy of life, the thrill of love and the adventure of the imagination. That is why some might fear that, in the end, everything we see and hear tonight will turn out to be nothing more than dreams.


Theater:


Stokölm

Stokölm

Stokölm the new Look Back in Anger de John Osborne

A young man, having devoted more than a quarter of a century to his education-degree, post-grad, MA... (you know the story), earns a living by doing a job that has nothing to do with what he studied, lives with his girlfriend and another friend who helps them pay the rent... And for all these reasons, and the world it is his fate to live in (monarchy, government, church, banks, etc), he is disgusted with life, particularly Sunday afternoons. If that's the plot to a work from the 1950s, then, really, what the fuck has changed in all these years? Miguel Casamayor

Director Marc Martínez
Adapted by Miguel Casamayor and Marc Martínez


Theater:



Inferno


Inferno


Inferno


Inferno

Inferno by Romeo Castellucci
A trilogy freely inspired by Dante’s Divine Comedy

If in the Divine Comedy we make the journey into the hereafter in the company of the Roman poet Virgil, at Grec'09 it is the Italian director Romeo Castellucci himself who leads us into that world, unknown to the living, revealing it in such clarity that one would think he had already been there. Castellucci, however, will confirm nothing. All he will admit to is leaving Dante Alighieri's book on himself to dry, "as if it were a wet shirt". This trilogy, freely inspired by Dante's Divine Comedy, is not only richly imbued with modern, beautiful dramatic art, but is also clearly intended to unsettle audiences, as the Italian director himself makes clear: "everything that can reach the spectator's heart forms part of dramatic writing". In Castellucci's reading of Dante, eternal death in Hell becomes more complex, those in Purgatory remind us of the routines of real life, and Paradise is a meeting-place with the self, a transient moment, a window onto the unattainable. At Grec'09, Castellucci's brilliant trilogy is staged at three different venues on different days, slowly branding audiences with its indelible mark. The Italian director invites us to embark on the most disturbing journey, one steeped in images that are at once paradisiacal and monstrous, dreamlike, and more real than we could ever imagine. Throughout the trilogy, Castellucci's electrifying talent is amply demonstrated, for this is a "total director", unanimously considered one of the leading lights of European theatre today, one of its stars


 

 

 

 



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