cia. Sargantana

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?

”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.

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.

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?