I HAVE THOUGHT ABOUT IT – Performance curated by Maria Kochetkova

NERVURE  is a solo project that explores the idea of the fall of an Icon to be: Pavlova, the clown? The character that longed to be given life. Not able to let go, she deals with feelings of restlessness. 

As a very acclaimed solo work, NERVURE has been invited to Gallus Theater in Frankfurt, to the Lucky Trimmer Festival at Sophiensaelle and Dock 11 in Berlin, to the TanzOFFensive Festival in Commedia Futura in Hannover, and at DanceWaves Festival in Cyprus. NERVURE toured to Taiwan and Malaysia in 2019 as part of the B.OOM Festival.

Choreographer: Mar Aguilò

Dancer: Heloïse Jocqueviel

SWAN, the most recent work by Mar Aguiló —and the first choreography in her catalog in which she does not also participate as a dancer—, mixes a sincere and brave autobiographical dimension with much broader reflections, which concern the tradition of classical dance and its survival in our days.

As for that choreographed self-examination that is SWAN, a good part of its analytical power comes, precisely, from that decision (or rather necessity?) on the part of the author to establish, for the first time in her career, a distance between her body and stage. We emphasize here the notion of the body – so important in the discourse of a work that presents it to us already and always exhausted – since what Aguiló displaces from the space of representation is, mainly, its physicality, not its presence.

The Rimbaldian formula “Je est un autre” takes on an unusual meaning in SWAN, since the other fundamental presence in the piece, that of the dancer Heloïse Jocqueviel, promotes a game of mirrors that continually puts the notion into dance—always sliding and equivocal. – of identity. Who dances in SWAN? Of course, here Gross is not—or not only—a projection of Aguiló, but how much of the Mallorcan artist’s biography is embodied in each step, in each gesture, that we see and hear in SWAN?

These questions also resonate—as we had anticipated—on a much larger level, a scale that even allows us to modulate that last question: how much of Mar Aguiló’s biography—already confused with that of Heloïse Jocqueviel—is her own, and how much? Does it respond to a severe tradition that has already spanned several centuries, as well as thousands of bodies and spirits?

Subjectivity and history, individual memory and collective tradition, originality and routine… Couples of concepts that dance in SWAN (it is already clear that this piece is, of course, not a solo… not even a duet: its protagonist is an entire corps de ballet , full of ghosts).

The lake always welcomed many more swans – and much more varied – than certain stories have wanted to preserve, if we are willing to immerse ourselves in waters that are much more turbulent than what those same stories have tried to describe.