Marta Carrasco

“I never danced by no reason”

I am fascinated

I am fascinated and respect the world of beings not wanted, not accepted … Imperfection has a very great credibility. It is a world that is within all of us. What happens is that the opposite is sold. We are terribly imperfect, and maybe that’s why we are support

To be born, to die … maybe to dance.

There are two laws in the life of Marta Carrasco. One is black and glorious: the execution of his grandfather, Manuel Carrasco and Formiguera, who died a martyr to the cry of “Visca Catalunya Lliure! Jesus! Jesus!”

The other is charming: that of María Teresa de Salomó, who was a dancer from the Liceu with the artistic name of Salomé and whose father, notary in La Bisbal, when the company arrived in town bought all the tickets so that no one could see it.

Before being a good bad housewife and talking through the music of her piano, the jazz of Keith Jarret or the songs of her inseparable Jacques Brel, she formed a symphonic rock band.

He then went on to study “by chance, as a revelation” – classical, contemporary and jazz dance in Barcelona, Paris and New York

Josep Massot

Vidas Contadas, La Vanguardia (22/03/2004)

“I’ve never danced for dancing. No movement, not even the little finger is in my free. “

Often, when we are sitting in an armchair in front of a stage we try to deduce what they want to tell us. What is the meaning of the show. If it is dance or theater … We often find ourselves lost, bewildered, when in short, everything is simpler than it seems. It’s all about getting carried away.

Enter into the world of feelings and emotion. Without fear (keyword). There is nothing that is not us.

A solo for me is dual. I explain. On the one hand, you have the absolute freedom to work alone and your way, to change every day according to how you feel, how are you … It’s you, and nobody else. Facing yourself and your work.

On the other hand, at the same time, you have absolute and non-shared responsibility for the outcome. Behind the whole process of a single is a harder part that is often not seen.

It takes a lot of willpower to go and rehearse alone every day, without anyone directing you and saying, “Come on, come on, let’s start here.” In this situation is very hard. You are and you feel alone.

And the hardest of all for me, although it may seem insignificant, after ten years of being alone all over the world, is traveling alone. Come alone, find yourself alone in the dressing room, alone on stage …

This feeling of solitude is sure to surround you at all times. But here we are and we continue. I really think that you have to be a strong person to carry out a single, and also be very crazy to face another solo after only one.

Fragment of the text “To confront a solo” Marta Carrasco – Transferal magazine.

Making or creating a show has never been a matter of will or intellectual decision for me. If not of necessity and of passion, and even of obsession.

After dancing with different companies like Meters of Ramón Oller, in 1995 Marta Carrasco undertakes a new solo career as a creator and performer with the dance-theater show Aiguardent.

From this moment, it combines the creation of own shows – Aiguardent (1995), Blanc d’ombra, Recordant Camille Claudel (1998), Mira’m (2000), Eternal? Yes, I do not! (2003) and Ga-gà (2005) – with the choreographic direction of other shows such as: Pesombra, on the poetry of Salvat-Papasseit; A jungla de les ciutats, by B. Brecht (dir. Ricard Salvat, 1998); The Maniquí, by M. Rodoreda (P. Planella, 1998); A little night music by S. Sondheim and H. Wheeler and Lulu by F. Wedeking (di Mario Gas, 2000 and 2001), Blood Wedding by F. García Lorca (dir. F. Madico 2001), Ronda from Mort to Sinera, from S. Espriu (di Ricard Salvat, 2002), Diàfan, from Pep Bou (2003) and the theatrical version of the musical El otro lado de la cama (JM Mestres, 2004). In 2005 he participated in the feature film by Carlos Saura, Iberia.

Among other awards, Marta Carrasco has received the one of the Theater Critique of Barcelona 1996-1997 by Aiguardent and Pesombra. The Armchair (Audience Award) of 1999 and 2001 by Blanc d’ombra and Mira’m respectively and two Max of the Performing Arts by Aiguardent. In 2005, the Generalitat de Catalunya has awarded him the National Dance Award in recognition of his career.

Media

Perra de Nadie

B. Flowers

No sé si...

Dies Irae

J'arrive!

Eterno? Això si que no!

Blanc d'Ombra

Aiguardent

Contact

13 + 14 =

Share This