Thursday 19th of August



60 mins

The Show

Sonoma is a word that doesn’t exist in the dictionary of the Spanish language. However, by combining the Greek word soma (“body”) with the latin sonum (“sound”): Body of sound and sound of the body.

Marcos Morau takes up the essential ideas of the piece he created in 2016 for the Ballet de Lorraine, “Le Surréalisme au service de la Révolution”, which is based on the figure of Buñuel, around medieval Calanda and cosmopolitan Paris, between the Jesuit discipline and surreal freedom. Buñuel has never been so current: he could see perfectly what the future held for us when he found, in the noise of the drums of Calanda and all of Bajo Aragón, that scream directed bluntly to the viscera.

And the women. Our big and small struggles.
We are the pollen that feeds the world.
The first bee.
The perfect storm.
We who see the world from a bird’s eye view.
That we are the eclipse and its shadow.
Those who deviate from the path.
Those who picked up the basket from the river.
Those who watch your nights and get up with the sun.
We who keep the relics.
We who have just arrived and we are fresh…

Violeta Gil and Carmina S. Belda.

Sonoma begins with a scream and ends with a loud bang. In the middle, in a landscape between reality and fiction, a group of women try to free themselves from the ties of the known, to cross their borders using their intuition and instinct. When they come together, that inner cry that they share is amplified, it grows until it overflows and they celebrate it with rituals and offerings, with hypnotic songs and dances. They enter an unknown and dizzying state, a state that frees their minds but at the same time reminds them of their human condition. Sonoma is that place where the storm originates, where the drums continue to beat with a force that shakes the earth and opens a deep crack in the ground under our feet.

The Company

For more than ten years, the Valencian Marcos Morau has led La Veronal as director, choreographer and designer of sets, costumes and lighting. He has travelled the world presenting his works in festivals, theatres, and various international contexts such as the Théâtre National de Chaillot in Paris, the Biennale di Venezia, the Festival d’Avignon, Tanz Im August in Berlin, the RomaEuropa Festival, the SIDance Festival in Seoul or Sadler’s Wells in London, among many others. In addition to his work with La Veronal, Marcos Morau is a guest artist in several companies and theatres around the world where he develops new creations, always halfway between the performing arts and dance: The Göteborg Opera Ballet, Ballet du Rhin, Royal Danish Ballet, Scapino Ballet, Carte Blanche, Ballet de Lorraine, Compañia Nacional de Danza or the Ballet de la Ópera de Lucerna among others.

Being the youngest winner of the Premio Nacional de Danza in Spain, Marcos Morau’s artistic language is a heritage of abstract movement and physical theatre. A powerful body language based on the annihilation of all organic logic, dissecting the movement and turning it into a unique identity.

Artistic Credits

Concept & Artistic Director: Marcos Morau
Coreography: Marcos Morau in collaboration with the Interpreters
Interpreters: Lorena Nogal, Marina Rodríguez, Sau-Ching Wong, Ariadna Montfort, Núria Navarra, Àngela Boix, Laia Duran, Anna Hierro, Alba Barral
Script: El Conde de Torrefiel, La Tristura y Carmina S. Belda
Repeaters: Estela Merlos y Alba Barral
Dramaturgical Advice: Roberto Fratini
Vocal Assistant: Mònica Almirall
Technical Director & Lighting Design: Bernat Jansà
Stage Manager, Machinery and Special Effects: David Pascual
Sound Designer Juan Cristóbal Saavedra
Voice: María Pardo
Scenography: Bernat Jansà y David Pascual
Costume Design: Silvia Delagneau
Seamstress: Ma Carmen Soriano
Millinery: Nina Pawlowsky
Masks: Juan Serrano – Gadget Efectos Especiales
Giant: Martí Doy
Props: Mirko Zeni
Production & Logistics: Cristina Goñi Adot
Production Management: Juan Manuel Gil Galindo

The show contains strobe lighting effects.

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