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La inquietud del tiempo o el deseo de flotar

June 12, 2019

“Sería todo mucho mas sencillo si no te hubieran inculcado esa historia de llegar a algún sitio, bastaría con que te hubieran enseñado sobre todo a ser feliz permaneciendo inmóvil. Todas esas historias sobre tu camino. Ir por un camino. A lo mejor en cambio estamos hechos para vivir en una plaza, o en un jardín público, allí quietos, dejando pasar la vida. A lo mejor somos una encrucijada, el mundo necesita que estemos quietos. Sería un desastre que nos marcháramos por nuestro camino. Qué camino ? Los

otros son los caminos, yo soy una plaza, no llevo a ningún sitio, soy un sitio.”

                                                                                                                               (Alessandro Baricco, Citi)

De la seducción a la violencia (Seduction into violence)

July 05, 2016

Because all forms of seduction end in an act of violence ...


Understanding seduction as the vehicle for all encounters: someone or something we love. The chosen other seduces us, but only as a projection of our own desires ... an intimate necessity thought to be a quality in the other.


The strategy to gain the desired other will always begin with the art of seduction. Unfortunately, in the end, the object of desire never meets the mysterious and strange initial need: fractals of desires. Disenchantment begins. Confusion, internal and external struggle lead to the first forms of violence: a simple act like distancing, silence, or, as almost always happens, more explicit forms of violence.


January 22, 2016

Last interactive creation of Talvez arises from the image of a Japanese garden; the sand, stones and intuitive action to move these materials and create a personal and intimate garden. Moving the stones to a private garden and changing the stones for dancers in the main garden, the idea is to move the dancers, manipulate, design the space from the own space and enjoy the feeling of the materials that replace the sand of the initial garden .


In Manípulo we seek to include the public under different sensory stimuli and resolve their participation connecting them with the dancers through different stones that represent them. Through this connection, the public moves to the dancers, composes and plays with the space and tactile sensations of different elements prepared for the proposal.

El Abrazo (The Embrace)

July 10, 2014

El Abrazo is a piece built upon sensation, and the driving forces are emotions instead of form. We use corporeal sensation as an initial drive that is subsequently transformed into movement by the dancer. The language that emerges on the stage is direct and loaded with emotional significance. El Abrazo is the desired corporeal caress, the presence of the other who arrives but does not arrive; that is there at times and others is not. The music created for this piece is an original soundtrack and accompanies the cast in a live performance. 

Cuerpo Intuitivo (Intuitive body)

October 23, 2014

Performed improvisation is the main dance language used for this piece. We call it real time composition on stage. Lately Talvez has been working with an interactive approach, where the audience becomes a creative element. Interaction between the cast and the audience is the core of our work.


In Cuerpo Intuitivo the audience is entrusted with the power to end the piece. It is the audience that finds, proposes and decides the end of every dance intervention or scene. The audience is in charge of finding a moment or final image in every scenario: literally one of its members will have to cry “The end!” for the dancers to stop moving.

Desde la Bici (From the bike)

October 30, 2014

“From the bike” uses the bicycle as a source of sound and through it, music, for the dancers.


The role of the audience is to mount to four bikes placed in front of the stage. Five dancers wait for the audience to start pedaling, and thus to initiate, manipulate and stop the soundtrack to which they move. 


Gravis: Diálogos sin diálogos (Gravis: Dialogues without dialogues)

November 14, 2012

Gravis, set as structured improvisation on stage. It is conceived and executed through improvisation techniques, including authentic movement. In Gravis the dancers compose the scene in real time and externalize individual and collective sensations fed from each other’s movement and reactions on stage. 

El público manda (Audience rules)

May 11, 2011

El Público Manda is a project that encompasses innovative proposals that, combined with technological initiatives, seduces the audience into being part of the game. The audience starts, changes, plays, and ends each of the scenes and pieces, which generates an interactive audience-dancers Exchange.


El Público Manda has been presented widely and is constantly incorporating new proposals that revolutionize the audience’s demand and embarks in a constant research of participatory and fun projects. 


Proposes three pieces: Call me, Push me and Find me. (Llámame, Púlsame y Encuéntrame.)

La Escucha (The Listening)

September 15, 2011

La Escucha (Listening), a piece fully developed in the language of authentic movement – a technique that enhances Carl Jung’s concept of active imagination incorporating the field of dance therapy into the work of dance. It consists in closing your eyes and waiting for a kinesthetic impulse, image, or emotion to arise. This first sensation grows and takes a corporeal form – and grows to take shape in movement.


A unique movement language flourishes with a great load of personal and emotional elements. La Escucha establishes a dance language based on interior impulses and emotions, and generates an authentic experience of movement, compositions on stage and inner reactions for both the dancers and audience. 

Mientras el agua dormía (While the water sleeps)

February 13, 2008

First work developed and premiered by the group. A piece designed to be danced inside the campus’ lagoon.

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