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March from 3 to 10

The world of Thomas Hauert is a place of infinite possibilities, iridescent colours that change with the position, dynamic geometries and aromas of varied origins. Bearing in mind that the world is a personal construction based on one’s own experience and sensitivity, he has spent 20 years working on his own space of radical freedom, which will explode onto the stage at the Mercat de les Flors to become the first constellation to be seen at a dance house.

A constellation is the pattern that incorporates moments, worlds and stars around a brighter celestial body. These are works that explain the artist as an entity, beyond each of his parts, closer to the rest of the artistic explosions of the firmament.

Here we will find Danse étoffée sur musique déguisée (2012), his first piece for a children’s audience, where the idea of the prepared piano developed by John Cage is transferred to the dancer’s body; a solo from 2015, (sweet) (bitter), where he interacts with the baroque madrigal of Claudio Monteverdi and with his own modern response; Inaudible (2016), a celebratory piece with music by George Gershwin and Mauro Lanza; and also two films and a workshop for professionals that will be open to the public on the last day.

In this way we get an impression of a good part of the contemporary firmament, where Hauert has made aesthetic contributions that have greatly influenced our younger dancers. With the company he founded in 1997, Zoo, he has transformed the understanding and articulation of the individual body and the social body of dance, using powerful performative tools that fine-tune his intuition to create a thinking body that moves faster than words.

In his works, social behaviours, biological reactions and movements of the spirit can be distinguished, just by changing the focus of attention. This is the effect of the accumulation of often-contradictory layers of meaning that emerge there, and with which he erases all prejudice and frees the body from improper forms. An emancipatory mixture of references for the spectators as well, to whom he passes on effective keys of perception for our time.