LA CORPORACIÓ in english

hello.
hola.

here you are all the information about La Corporación / 2010 in english.
aquí tenéis información sobre el proyecto 2010 de La Corporación en inglés.



LA CORPORACIÓN / 2010
Disposable post-dramatic superproductions

high risk dramatic stage projects based on leftovers from the cultural industry.
a space providing (physical and poetic) room for the leftovers of our consumer economies.
an excessive and disproportionate factory of superproductions impossible to distribute and make profitable.


La Corporación www.lacorporacio.blogspot.com is the brand of my artistic project www.marta-galan.com and the disposable post-dramatic superproduction is the format I have chosen to continue to question the unthinking paradigms of representation and to enable the emergence of a unique artistic space halfway between performance and social action.

La Corporación's headquarters are at the Nau Ivanow / BCN, a leading artistic centre for followers of contemporary stage creation in the city of Barcelona.


-THE ACTION

Producing post-dramatic large format shows with physical leftovers from the local cultural industry, using performers and content from the socio-cultural environment of the arts centre, theatre, art gallery, festival, institution or structure hosting the project.


_THE OBJECT

_What is a disposable post-dramatic superproduction?
Each disposable post-dramatic superproduction is a spectacular dramatic project, which is unique and unrepeatable, produced using the physical leftovers of the local cultural industry (leftover sets, wardrobe, properties, cinema or television decorations, etc) that I look for and collect myself.

La Corporación uses a radical permeability with the socio-cultural environment in the neighbourhood/city where it works and applies this human and artistic interaction to design and define each of the spectacular stage productions that it produces.

A superproduction is based around a simple and spectacular idea (customising a car on stage, 25 women breastfeeding, bricking up a standard scene of a conventional play, etc.) which must be made more complex by adding a “corps de ballet”, a large number of extras, a recognisable text or extract by a recognisable author, special effects and spectacular sets or costumes discarded by the cultural industry.

Each superproduction is rehearsed for a maximum of 10 days. The artistic team's encounter with the idea must be surprising and dangerous. Superproductions involve a space for investigation understanding new morphologies for today’s theater.

When the stage production ends, the leftovers from the cultural industry are given to the arts centre, distributed among the audience or destroyed.


_What is the methodology used to produce and premiere a disposable post-dramatic superproduction?
The first thing I do is to choose one or more artists and/or theorists to work with, who are working and creating in the city where I will be producing the superproduction. These people are not necessarily linked to the dramatic arts.

Once the space / neighbourhood / city for the production has been defined, and the budget has been confirmed, I start work on creation and production in co-ordination with the local collaborators I have chosen.

The first step is to look for leftovers from the local cultural industry and decide upon a spectacular idea which structures the stage project.

At the same time as looking for these leftovers, I contact a cultural actor who knows the work done by associations in the neighbourhood or town where the superproduction is being produced and I contact the people, institutions and groups that can provide content and spectacular material for the superproduction project and I invite them to participate.

The next step is to define the direction of the stage project, reflect this in a script or storyboard, pass this on to the entire team and begin rehearsals, which will last no more than 10 days.

These 10 days in the space where the superproduction is to be presented are essential for assembly, rehearsals and technical adjustments. The sound, lighting and video could be technicians may be local (recommended) or I can bring my trusted technical team from Barcelona (depending on the fee negotiated).



_Why have I decided to make disposable post-dramatic superproductions?
Because I believe that it is essential to imaginatively invert my relationship with the means of production. Disposable post-dramatic superproductions are an ironic way of remaining in the market, an ironic and vigorous means of resistance which believes action and imagination, an ironic way of highlighting what is taken into account today in Spain in supporting staged projects.

And above all: I make disposable post-dramatic superproductions because I believe that, because of its face-to-face nature, the theatre (or the stage) is one of the few public spaces where virtuality is denied entry, one of the few public spaces where presence is important, where being present matters. With my project for ironic and disposable superproductions I am trying to emphasise this face-to-face and assembly-based aspect of theatre; a space which I feel is exceptional for unleashing the poetic imagination and aesthetic reflection but where social interaction should a sine qua non. The disposable post-dramatic superproduction is the format I use to bear witness to this impulse. This desire.

_How much does it cost to programme or co-produce a disposable post-dramatic superproduction?
Making a disposable post-dramatic superproduction (which is unique and unrepeatable) for an arts centre, theatre, gallery or festival costs between 5000€ and 9000€ + technical expenses + travel and accommodation expenses, depending on various variable factors: the number of artists involved and where they come from, the technical complexity, artistic decisions, contingencies, level of spectacle desired, etc…

N.B: the price of a superproduction has been calculated based on the pilot project that La Corporación carried out in the Nau Ivanow between September and December 2009, which involved the presentation of 3 stage productions with a total cost that ranged between these two sums. However, the price is subject to negotiation in both directions: more expensive superproductions (12000€ at most) or cheaper ones.



_THE SUBJECT / I / MRTGL´N_ www.marta-galan.com

_What have I done in 12 years for and against theatre art?
I have worked creatively in the field of cross-disciplinary theatre arts since 1998. I have written, produced and directed more than a dozen montages with various creative teams, and have achieved a high Spanish and international profile (the festival Mira!, le Translatines, etc. in France, Drodesera, Piu festival, Omissis, in Italy, Far festival in Switzerland, Espacio Callejón in Buenos Aires, Dramafest in Mexico City, Proximo Ato in São Paulo, etc.)

Between 1998 and 2002, as the head of the LaVuelta company, I premiered: LBdLG (1999), Desvínculos (2000), K.O.S –hacerse el muerto- (Sitges International Theatre, 2001), Estamos un poco perplejos (Sitges International Theatre, 2002) and I was the director and co-scriptwriter of the dramatised extracts that appear in the documentary De Nens, by Joaquim Jordà.

Between 2002 and 2008, I collaborated artistically on a permanent basis with Santiago Maravilla, a singer and performer influenced by trash culture, the pop art aesthetic, punk and the romantic chanson, with whom I premiered: Lola (2003) Transilvania 187, in memoriam (Mercat de les Flors, 2004) Machos (Escena Abierta, 2005) El Perro (Mercat de les Flors, 2005) and Melodrama (2006-2007).

Since January 2008, I have been working with a new creative team on the diptych Extrema tu vigilancia, consisting of Protégeme, instrúyeme (Teatre Lliure BCN- Radicals lliure 2008) and High tech (project pending financing)

Since 2005, I have been part of the El Vivero production and distribution platform (M.O.M, Marta Oliveres Management) www.martaoliveres.com and in November 2007, I promoted the creation in Barcelona of the Association of Stage Artists in order to dignify and raise the profile of contemporary theatrical work in Catalonia.

I am a graduate in Spanish Philology from the Autonomous University of Barcelona (U.A.B) and I have begun the doctorate course in Theatre Arts at the university in collaboration with the Instituto del Teatro (Barcelona).

My texts are published in:
Estamos un poco perplejos, 2002, pub. En Cartell, S.T.I- Creació Contemporànea, edited by Francesc Foguet Boreu, pub. RE&MA 12 S.L

Éticas del cuerpo. textos de Lola (2003), Machos (2005), El perro (2005) and Transilvània 187, in memoriam (2004). Published by Óscar Cornago (C.S.I.C researcher) in ed. Fundamentos.