Firts Version – Presentation
OCTOBER 28th 2021 Mercat de les Flors, Barcelona.

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.
Magí Serra – Núria Guiu – Elisa Keisanen – Guillem Mont de Palol – Pere Jou

It may seem somewhat incidental to begin a project that way, the focus is on 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 Elisa Keisanen, the body- performative ingenuity of  Pere Jou, and the stage- creative intelligence of Guillem Mont de Palol.

Spinoza’s affects
<<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.


1. Texts
Writing that situates the body and the human being at the center of our social and individual interest.

2. Telepathy
This is something that, unbidden, returns time and again to be part of this project. It’s an intuition. How can we come up with a system for the performers to communicate telepathically on stage? That is to say, a way for them to have an internal communication system that lets them make individual and group decisions in real time.

3. Synchronicities
Telepathy takes us to the phenomenon of synchronicities, real situations in everybody’s lives when, for instance, you think of a person you haven’t seen in a while, and suddenly that person calls you on the phone. Telepathy and synchronicities are interesting to create a common energy on stage, a state, a communication code beyond the scenes and materials.


project directed by sònia gómez in collaboration with:

Núria Guiu - Magí Serra - Elisa Keisanen - Guillem Mont de Palol - Pere Jou
Light: Ana Rovira
Sound: Carlos Parra, Julian D’Avino i Rafael Cañete
Art: Jorge Dutor
Bright eye: Txalo Toloza
Angel: Marta Crespo
Production: Elclimamola

Coproduction: Mercat de les Flors
Homes: El Graner Barcelona WP Zimmer Awerpent
Suport: L'institut Ramon Llull