GUERRILLA

Beursschouwburg
  • 18/05 | 20:30
  • 19/05 | 20:30
  • 20/05 | 20:30
  • 21/05 | 22:00
  • 22/05 | 18:00

€ 16 / € 13
1h 30min
FR / NL

Meet the artists after the performance on 19/05

El Conde de Torrefiel was one of the revelations at the Kunstenfestivaldesarts in 2015. This year the young Spaniards are coming to Brussels once again, with the world premiere of GUERRILLA. This new piece questions the future of a generation of young Europeans. We follow a group of young people taking part in seemingly banal activities: a tai chi lesson, a conference, a night out. They seem relaxed and confident. The proceedings on stage are harmonious, innocent... and artificial. The colourful diversity of the group silences the actors’ personal world of ideas, whilst behind the scenes we can read their thoughts. In this seemingly safe and peaceful situation, GUERRILLA incessantly torpedoes repressed impulses, obscene fantasies, and violent notions towards the audience. A black comedy about oppression and the awakening of awareness.

Conceived & devised by
El Conde de Torrefiel

Direction & dramaturgy
Tanya Beyeler & Pablo Gisbert

Assistant
Nicolas Chevallier

Text
Pablo Gisbert, in collaboration with the performers

Light design
Ana Rovira

Set design
Blanca Añón

Sound design
Adolfo García Fernández

Choreography assistant
Amaranta Velarde

Music
Pink Elephant on Parade

Performers
Adele Vandroth, Agathe Mez, Alexandre Magnin, Anna Julia Feijo do Amaral, Annalisa Parziale, Antoine Neufmars, Arantza Munoz, Aurélia Monfort, Barbara Pereyra, Camille Lemonnier, Capucine Ferry, Catarina Vieira, Catherine Scholzen, Carla Gillespie, Cécile Créspi, Charlotte Carmona, Christophe Jaccard, Cindy Defise, Costanza Favelli, Diego Ignacio Olea, Dorothée Battle, El Mir Taoufik, Elise Peroi, Farid Al Aflak, Floriane Jamar, Irène Chamorro, Iris Julienne, Isabelle Vander Stockt, Jan Ockerman, Jean Coërs, Jerome Poloczek, Jorge Enrique Guevara Larotta, Julia Stehling, Julie Dupraz, Juliette Van Peteghem, Keyna Nara, Laida Aldaz Arrieta, Laura Gaggiottini, Laura Gonzalez Jimenez, Lauren Lenoir, Leone Dethier, Lili Rampre, Lola Chuniaud, Louise Mestrallet, Lucia Sauro, Malika Temoura, Manon Juszczak, Maria Ivorra Ruiz, Marie Trossat, Marija Baranauskaite, Mathilde Layrac, Maurilio Correnti, Mélina Van Hoof, Melodie Meeuws, Mireya Arauzo, Natasha Padilha, Nina Greta Salomé, Paul Duru, Pauline Allié, Peggy Green, Prince Youmle, Rabia Benkh, Renata Kambarova, Robin Yerles, Said Abitar, Sarah Maystadt, Saskia Van Kampen, Silvio Palomo, Sofia Kakouri, Sophie Delacollette, Soumaya Abouda, Stefania Occhionorelli, Stefka Sbenisheva, Stephanie Scultore, Ursula Vandenberghe, Valentina Stepanova, Vincent Hsueh Cheng-wen, Vinicius Coelho, Wannus Vander Bauwheden, Xavier Delacollette

French translation
Marion Cousin

Dramaturgical advice
Roberto Fratini

Presentation
Kunstenfestivaldesarts, Beursschouwburg

Production
El Conde de Torrefiel (Barcelona)

Associated production
Kunstenfestivaldesarts

Co-production
Kunstenfestivaldesarts, steirischer herbst festival (Graz), Noorderzon Performing Arts Festival (Groningen)

Supported by
Graner, Centre de creació (Barcelona), ICEC – Generalitat de Catalunya, INAEM, Ministerio de Cultura de España

Performance in Brussels supported by
Cultural Office of Spanish Embassy in Brussels 



This project is co-produced by
NXTSTP, with the support of the Culture Programme of the European Union

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GUERRILLA

GUERRILLA presents the confused and contradictory inner universe of a group of people that inhabit the same moment in time, move through the streets of the same city, share the collective consciousness of the same continent, and are affected to a greater or lesser degree by the same consequences. Even so, they don’t know how to face a world that has changed too much since the beginning of the 20th century and that is in constant need of new rules, symbols, and tools for its interpretation. This is why, just as in a real ‘guerrilla war’, we have subdivided into small groups that, day after day, rummage through the same historical ruins in search of new gods, new enemies, and new answers, hoping to find some meaning or some other truths that will make everything disappear once and for all, in order to rebuild and destroy, over and over again, the history of Europe.

GUERRILLA describes the subtle, organised, and directed war that exists within the heads of each individual in a crowd, and that when reading between the lines makes an apparently unified situation point to multiple universes. Like waves in the ocean, these people are part of the same group; but their spontaneous thoughts, their ideas, their pasts and their aspirations delineate a landscape that is multi-circumstantial, contradictory, and expansive – in contrast to the simple, unchanging image of leisure and relaxation seen on stage. The projected text above their heads is the connecting thread, which, by means of narrative, relates these people’s thoughts, desires, and memories. The text traces the tangled and complex chart of a landscape that appears serene; there is no conflict evident on stage, as the battle is taking place inside their heads. And within the depths of these interior confines, where freedom has at last been enclosed, there’s a war of ideas that awakens each day and goes to sleep each night and is never resolved. GUERRILLA observes the tensions experienced in Europe: incendiary thoughts from inside a comfort zone; love that is too easily distracted; excessive seizing of the day; the constant presence of history; individual solutions to collective problems; material polytheism; the eternal dilemma between passion and reason. If everything is progressing in an apparent state of peace in which we feel safe, why is it that inside our heads we involuntarily declare war?

An electronic music session, a Tai Chi class, a conference: these are the separate parts of the piece. The actions take place in the near future in three different cities. The participants in these events dance, talk, and listen. And the written text, loaded with the most intimate thoughts of those who have diluted the unchanging mass of people by their presence, is compared to and superimposed upon the rhythmic, constant image they project.

The piece combines fictional and documentary text. The latter is based on a series of interviews previously conducted with a small group of people who inhabit the same moment in time and the same location, in this case, the city of Brussels. This is a work of documentary drama based on a collaboration between the company and the participants. It is the first time the company has worked in this way.

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El Conde de Torrefiel is a Barcelona-based project headed by Tanya Beyeler (b. 1980, Switzerland) and Pablo Gisbert (b. 1982, Spain). Having studied theatre and philosophy, Beyeler and Gisbert are also interested in music and contemporary dance. Indeed they regularly collaborate (in the dramaturgical framework) with dance company La Veronal. As theatre authors, musicians, performers, and video-makers, their creations seek a visual and textual aesthetic wherein theatre, choreography, literature, and the visual arts coexist. Their work addresses the notion of imminent temporality, with as a starting point the synchronic analysis of the present, an interrogation of the possibilities of our time. El Conde de Torrefiel intends to understand the existing connections between rationality and the meaning of things determined by language, as well as the abstraction of concepts and the imaginary and the symbolic in relation to the image. In fact, the duo’s most recent works focus exclusively on the 21st century and on the existing relationship between the personal and the political; more precisely, between the new forms of totalitarianism and intellectual alienation, between the sense of responsibility and personal freedom. El Conde de Torrefiel came into existence in 2010 with the piece La historia del rey vencido por el aburrimiento (The story of the king defeated by boredom), followed by Observen cómo el cansancio derrota al pensamiento (Observe how tiredness defeats thought) (2011), Escenas para una conversación después del visionado de una película de Michael Haneke (Scenes for a conversation after viewing a Michael Haneke film) (2012), La chica de la agencia de viajes nos dijo que había piscina en el apartamento (The girl at the travel agency told us there was a swimming pool in the apartment) (2013), and La posibilidad que desaparece frente al paisaje (The possibility that disappears in front of the landscape) (2015). Their most recent works have brought the company national recognition, with presentations in important venues and festivals in Spain, such as Mercat de les Flors in Barcelona, Festival de Otoño a Primavera in Madrid, and Festival Temporada Alta in Girona, among others. Thanks to favourable reactions from audiences and critics alike, El Conde de Torrefiel has begun to take its first steps beyond national borders, particularly in Latin America and Europe (Belgium, Italy, France, Holland, Switzerland, England, Portugal, Austria).

El Conde de Torrefiel at the Kunstenfestivaldesarts
2015: Escenas para una conversación después del visionado de una película de Michael Haneke

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