cia. Sargantana

[cos + espai] + tecnologia


cat /eng

  • Breus


    The research on new dramaturgies of our laboratory often produces short and solo pieces with a strong social theme. “Breus” is a meeting around these pieces with neighbors, so that what has just been seen generates a dialogue between all the attendees, both public and creators. These encounters are not necessarily in a theatrical space, but rather the right spot for each exchange to let a better dialogue as well as a closer look at theater and creation.

    Since 2018, with the support of the Barcelona Sants-Montjuïc district, we have expanded the impact of these theatrical acts in the district, and have begun to create an audience that regularly attends the proposals.

    At each new edition, we continue working artistically in the same way as in previous editions and improving the post-function space of direct meeting between audience and creators, devoting part of the research to proposing new formulas that still make the viewers more comfortable to deepen in the dialogue.

    With the support of Generalitat de Catalunya

    En col·laboració amb In collaboration with Ajuntament de Barcelona / Districte Sants-Montjuïc / Ajuntament de Manresa / Els Carlins Manresa

  • Lanau7


    Located in Ripoll, inside what used to be Tallers Casals, lanau7 occupies a warehouse of nearly 300m2, in an easily accessible area but separated from other buildings.

    Lanau7 has a green environment, next to the Ter river, where you can prepare for work sessions.

    The interior of the is designed to enable technological research in different areas. It is an open space, where only the offices and services are closed. It’s distributed to allow musical, audiovisual, immersive and streaming space research.

    The space has natural light that can be closed if darkness is needed.

    The space is designed based on the needs of the projects and activities that cia. Sargantana has developed in recent years.

    The objectives of the center are:

    • Accommodate European projects by increasing the number in which cia. Sargantana participates or collaborates, achieving at the same time greater visibility of our productions at European level.
    • Increase the dialogue with the local community, with the aim of being a hub for the transmission of knowledge for artists in the territory and, at the same time, a space for social transformation at a local level.
  • Li/ea/ving – act I

    Li/ea/ving – act I

    In this “Act I”, we enter the intimacy of some particular cases, by entering their homes just before they ceases to be defined as such.

    Migrants, refugees, expatriates … All under the label of immigrants in the countries of arrival, open the door to their humanity just before leaving it behind and becoming, perhaps, just one figure.

    A site-specific journey inviting the audience to participate in the flight, not only by visiting the houses of our protagonists, but by taking an active role in the action.

    The team

    Activist – Carles Garcia-Llidó
    Pare – Jordi Pérez
    Kima – Alba Rosa
    Written and directed by – Jordi Pérez i Soldevila

    – Duration 50 minutes
    – Site-specific and multispace performance
    – Audience divided into groups of 15-25. Each group follows a dierent itinerary and they meet again in the last scene.

    A production of cia. Sargantana – la Cuina within the project Breus

    With the support of: Districte Sants-Montjuïch – Ajuntament de Barcelona

  • La Plana

    La Plana

    A dining room set on a small hill houses three characters who have made this space their home and their mutual company, a family.

    One evening, as they are having dinner, the events surprise them. Everything that they could follow on television every day, invades and transforms their lives, and maybe those of a whole country.
    To what extent are we ready to imagine a new political, social or economic system?

    The team

    Kram: Jordi Pérez
    Ela: Carla Vallès
    Prim: Saoro Ferre
    Carreter: Nathalia Sócrate
    Speech man: Carlos Briones
    Bodyguard 1: Carles Garcia-Llidó
    Bodyguard 2: Manu Gómez

    Written and directed by Jordi Pérez i Soldevila
    Assistant director: Marilou Roqueplan
    Costume: Muriel Parisi
    Music and visual space: Jordi Pérez i Soldevila
    Lights and sound: Alba Rosa


    7 prizes at Sidi Kacem International theatre festival 2015
    Best performance
    Best director: Jordi Pérez i Soldevila
    Best leading actress: Carla Vallès
    Best cast actor: Manu Gómez
    Best cast actor: Carles Garcia-Llidó
    Best lights and sound creation.
    Best scenography.

  • De quan tot filava quan filava

    De quan tot filava quan filava

    ”De Quan Tot Filava quan Filava“ is a physical theatre project telling a story derived from creative and historical research, aiming to stimulate reflection and dialogue with the audience. The set of scenes brings you closer to the world of our past: women in textile colonies in Catalonia. 

    The textile colonies were a very important social entity for the region ending in the last century, marking an important shift in the social structure that still affects society today. The colonies offered security, but compromised certain freedoms. “Freedom with exceptions” is the theme of our research material, as we find similarities between then and now, in which the strive for security compromises our freedom. 

    During our research, we found that women’s experience in the colonies was flagrant and became our main focus. Although they were the engine of the colonies, there was not equality with men, in regards to their rights and salaries. Children were also exploited through hidden child labour, which occurred just a few decades ago.

    The team

    A collective creation by La Cuina laboratory

    Dramaturgy: Jordi Pérez i Soldevila

    Cast: Maria Dombón, Àlex Galimany, Carles Garcia-Llidó, Jordi Pérez, Alba Rosa, Gemma Sastre

    Projections: Jordi Pérez, Justin P. Brown

    Lighting: Jordi Pérez

    With the support of: Ajuntament de Barcelona

  • No country for old myth

    No country for old myth

    Five myths have been closed in their spaces for centuries, feeling the time goes by.

    They are now opening their doors to the world for a brief moment, and the audience can visit them in the spaces where they were once trapped forever. Oedipus, Creont, Antigone, Medea, and Hamlet receive the visits in the hope that they will be released by anyone who visits them. 

    Through these myths, cia. Sargantana offers us a reflection on today’s society, on current politics, on the human being we have become. On justice.

    The team

    Written and directed by Jordi Pérez i Soldevila

    2012 team:

    Cast: Ruben Pagani-Pellicer, Miguel López, Mar Montón, Carla Vallès, David Barceló.

    Music: Daniel Carles

    2014 team:

    Cast: Mireia Estrany, Carlos Briones, Saoro Ferre, Jordi Pérez, Carla Vallès.

    Music: Jordi Pérez i Soldevila

  • Ball d’hivern

    Ball d’hivern

    It proposes a double contact with the scene: live communication and Twitter communication between the audience and characters during the performance.

    An eternal dance that transports us to an unreal space but at the same time very well-known: the winter inside us. 

    5 characters from different eras caught in a dance try to escape from what one day led them to enter. Waiting for a security that will allow them to go out and recapture what they left one day stuck – their lives – they keep on dancing. All you can do is dance, give up. 

    5 testimonials about one idea: Why does winter settle inside us? What do they have in common 1714 and World War I? And George Orwell with 1714? And us with all this? What if the rhythm stops?

    The team

    Year of the production: 2013

    Cast: Carlos Briones, Georgina de Yebra, Saoro Ferre, Jordi Pérez, Carla Vallès.

    Written and directed by Jordi Pérez i Soldevila
    Assistant director: Marilou Roqueplan
    Lighting: Edgar Garcia

  • Fragndismut, la història d’un Nadal

    Premiered in 2005 at the Ribes de Freser theater.

    Written by: Jordi Pérez i Soldevila
    Director: Eudald Casals
    Music, light and sound: Dani Carles
    Cast: Jordi Pérez

  • basis and statement

    basis and statement


    Art is a vehicle to shift society’s vision toward deep questions that involve our everyday lives.
    Art can change time and space to let the audience find answers to deep questions unreachable in our everyday lives.
    As creators, we have to find a way to become a connection for the audience with themselves.
    We have to discover the path that will lead the audience to their own answers.
    This is an inner development as a human being, but also as creators. We must redefine the language.

    This quest will help us in creating the experience that hopefully will let the audience connect with themselves and find an answer.

    This sincere and real dialogue that we wish to establish is an ethereal goal that needs specific tools, implication and, why not, a dose of luck to achieve it. Luck is not in our hands, so we focus on developing these tools in order to grow as creators and performers.


    All the work is framed under the working ideas of our decalogue:

    1. A creator must have commitment.
    2. A creator needs courage and honesty during all stages of his work.
    3. He has to develop his imagination, stimulating it and training it daily.
    4. Knowledge opens the door to the imagination and sets the limits and rules of play in relation to each work process.
    5. A creator needs a body and a spirit trained and ready for the possibilities of the imagination. A body and a spirit must not become an obstacle but rather a vehicle.
    6. The work of the creator is connected to his present state and it must serve to improve his self-knowledge and the knowledge of his surroundings. On stage, this knowledge must allow him to transcend, becoming a physical channel for the audience with themselves through life on stage.
    7. The final goal of an actor-creator is to become this physical channel, which means embodying what is required in each moment of the performance. If it is a realistic work, for example, it will be necessary to create a sample of behavior giving it physical, psychological, emotional and verbal life.
    8. Deep knowledge comes from the entrails. Life cannot be transmitted through any other way.
    9. The impulses, instincts and the management of these constitute life. An actor can only live through the action.
    10. The world changes, and the art changes with or ahead of it. The audience changes. There are universal images, but there are perceptions and values ​​strongly linked to cultures. Only through these images and cultural perceptions will we reach universal values.
  • iam system

    iam system

    iam system

    Since 2009, the research group has developed a methodology that includes definitions, exercices, procedures and an open-minded structure that guides our work as creators and performers. This system, known as “impulse-action motion” (iam system), has been used in very different kind of productions and is always evolving, even if its roots are clearly defined.
    The system, with strong connections with the physical actions systems, combines ideas of NLP or quantum physics among others, with the aim of offering a healthy and useful way of living the profession and helping creators reach their audiences.

    Impulse: inner pulsion, the need to act produced by a real need that grows inside ourselves.

    Action: verb that produces a transcendental shift in me and in everything that surrounds me.

    Impulse-action: action made in the exact moment.

    “Living through action” is our first line of research. It is dedicated to the growth of the artists through physical and vocal exercises. An actor needs to be attentive and calm so as to establish a sincere dialogue on stage, needs courage to keep this dialogue all over the performance, and must be free to act and react to the needs of this dialogue.

    “The dramaturgy of the action” explores different aspects of a creation, from the creation process to the relationship between the performer and the audience, the role of the audience or the performing place.

    Our research in this field is based on research on quantum physics (quantum, multiverse, observer, mass-energy), NLP (neuro-linguistic programming), as well as the introduction of new technologies and the use of traditional music.