informació obra

Felipe Cabezas

Nova creació de Thomas noone Dance, Premi Ciutat de Barcelona i reconegut també amb els Premis de la Crítica de dansa per Medea recentment. a partir d'elements gestuals i de recursos de clown mira d'apropar la dansa i el circ. La peça indaga en les relació entre l'individu i la comunitat. 

Una coreografia per a sis intèrprets que aniran teixint una xarxa de relacions a través d'una dansa expressiva i acrobàtica.

Alba Barral, Premi a la categoria de ballarina als Premis de la Crítica 2018

Crítica: Closer


Intimacy fades faster than it forms

per Alx Phillips

With a title that references the Patrick Marber play about the desire for and failure to achieve intimacy, Thomas Noone breaks apart this 2-couple dynamic with this six dancer piece, saying that it is the audience in this case that he wants get closer to. 

We sit on two sides as well as watching from the front. Two-dozen gleaming metal structures offer flimsy frames: nothing to climb on here. An early sequence appears to reference the play, female dancers as lascivious predators, a male dancer as the disinterested submissive. And these dynamics of frustration, abandonment or attention-seeking spring up throughout.

The piece emerged of a search for democracy, says Noone, an attempt to replicate the intimacy of the many physical contexts in which the troupe have performed; outdoor and indoor, competing with the elements, the heat, the mosquitoes, the distractions of the street, they nevertheless experienced a closeness with the audience bunched around than in a theatre. It was on performing in a circus space that an interest arose in some of its techniques, especially of clowning, a discipline as perfectionist and individualistic as it appears disturbingly anarchic. Yet Closer takes a respectful distance, hints at it with gesture and odd socks. 

Some magic, a lot of darkness, everything a bit disheartened: in the street, sequences must be short and broken, fragments work best as the attention is quickly drawn away. Closer is bound together by the brilliant score by Jim Pinchen that freewheels from thumping electronica through archetypal 'carousel' to baroque.