The black body, the blue mind and the fluorescent guts.
© Francesca Meseguer


The black body, the blue mind and the fluorescent guts.

The starting point is a line of people on the stage.
They are arranged in a premeditated order: from left to right, from dancer to performer.
Raquel Gualtero – Núria Guiu – Magí Serra
Quim Bigas – Pere Jou – Txalo Toloza

How the body in motion and its most salient differences have a conversation in a ballet-like stage piece? How could we create a ballet between dancers and performers? How can they be mixed? What advantages and disadvantages can they bring to it?How can they still be themselves while forming a single body? What can this combination of profiles offer?And the ballet? What would a 21st Century ballet be for such an eclectic group?

The black body
, the first part of the title, is a code that will allow us to find forms -more or less harmonious, more or less beautiful, more or less performed through dance- between the virtuosity of great dancers like Núria Guiu, Magí Serra and Raquel Gualtero, the body- performative ingenuity of Txalo Toloza and Pere Jou, and the stage- creative intelligence of Quim Bigas.

My use of this concept comes mainly from Spinoza, who speaks of the body according to its capacity to affect or be affected. These are not different capacities, they always go together. When you affect something, you simultaneously expose yourself to being affected, albeit in a slightly different way from that in which you could have been affected a mere moment before.

Brian Massumi. Ejercicios de ocupación Page 23 Editorial Polígrafa

The blue mind
, second part of the title, is a question for the performers. What does the dancer think on the stage? Thoughts differ greatly, depending on each person’s personality and the type of work, whether more choreographic, performative, repetitive, musical, physical, or aesthetic. What ideas come and go when the dancers move in silence? How could those thoughts be represented on the stage?

It is a matter of showing that the body surpasses the knowledge that we have of it, and that thought likewise surpasses the consciousness that we have of it.”

Gilles Deleuze. Spinoza: Practical Philosophy pp 18-19 City Lights Books


The fluorescent guts, third part of the title, would be the shining paths of emotion, the way emotion converses with the body in motion, the extent to which emotions can be adjusted, and to which they are responsible for the end result.

Emotions generate large amounts of constructive and destructive energy, chemicals secreted by the body in the face of life situations.

This residency has been made possible by the support of the Institut Ramon Llull.

Sonia Gómez

Sonia Gómez creates productions at the meeting point of dance, theatre and performance. She studied in Barcelona and Brussels before starting to work for such groups as General Elèctrica and La Carnicería Teatro. Her own work is delicate and personal, and includes the successful Mi Madre y Yo, a duet she made together with her mother and which toured all over Europe. In the recent Bailarina (2014) she was once again able to combine vulnerability and strength movingly on stage.


Project directed by: Sonia GómezIn collaboration with: Raquel Gualtero - Núria Guiu - Magí Serra - Quim Bigas - Pere Jou - Txalo TolozaCollaborators: Sergi Pla (physical therapist), José Luís Cañadas (Doctor in Philosophy and Creative Director) and Ignacio Morgado (Professor of Psychobiology)Light design: Ana RoviraLight technician: Conchita PonsProduction: elclimamola, Mercat de les Flors (Barcelona)With the support of: Institut Ramon Llull