The Market will tour the world in 50 shows next season. He will look more towards Asia and discover territories and body language transmissions, with their way of reinventing themselves in each context. All of this crossed by themes such as the new identities that globalization gives.
The hall is therefore betting on international companies, such as the Taiwanese Cloud Gate, which returns to Barcelona with 13 tongues (Thirteen Languages) in allusion to the gurigall that choreographer Cheng Tsung-lung remembers from the streets of his childhood in Taipei. The Sydney Dance Company, directed by the Catalan Rafael Bonachela, will also visit the hall with two shows, as will the most international of the Norwegian companies, Carte Blanche, with a piece by the Canadian Frédérik Gravel.
Olivier Dubois recovers the vertiginous Tragédie that 30 years ago crowned him in Avignon, with 18 dancers, and the French Rachid Ouramdane, who is now opening the Grec, returns with the Chaillot-Théâtre National de la Danse and a piece of aerial choreography, in halfway between documentary and circus dreams. The presence of the circus will be strong: there will be, for example, Alexander Vantournhout, another creator between choreography and this art.
In addition, and as part of the programming of Temporada Alta in Barcelona in collaboration with the Mercat, the referential Anne Teresa de Keersmaeker will dance her solo on the Goldberg Variations, with Alain Franco on piano. And not to neglect any latitude, the course will begin with the Lebanese Omar Rajeh and the celebration entitled Beytna , in which he invites choreographers and musicians to dance while his mother cooks for everyone. “Today, as we work harder and it seems that this intense work is taking us nowhere, we want to open the season remembering that the imported is the time to celebrate with others”, says Àngels Margarit, the director of the Market, that her eight-year term would end in February 2025. “If I continue it will be with conditions, but we will talk about it in the autumn”.
As for local artists, there will be work, among others, by choreographers associated with the hall: Núria Guiu, Joaquín Collado and Aina Alegre, who is now artistic director in Grenoble, and flamenco by Olga Pericet.
The presence of the Cloud Gate with a pre-pandemic piece – “it’s the one I like the most and it fits better in our scenic box than the most recent one”, explains Margarit – allows the Market to open a Panorama Taiwan and show the contemporary creation of Asian country with three other companies, including Wang Yeu Kwn, with the intimate Beings. In fact, in 2019, the Market began a cross-residency relationship with a Taiwanese theater, an exchange that was cut short by the pandemic and resumed last year, with Roser López traveling to the Asian country and Lin I-Chin coming to the Mediterranean Fair. “We want to get closer to this powerful and variable territory, very technological and modern, but at the same time of great ethnicity and cultural richness”, points out Margarit.
On the other hand, the room proposes to discover two choreographers with two pieces each: the Canadian Catherine Gaudet and the French Lara Barsacq, who was part of Batsheva and then C de la B or Jérôme Bel, and who is now doing a very current female and feminist review of the Ballets Russes of the beginning of the 20th century.
More: Maud Le Pladec will deal with the cultural transmission of dance with Silence legacy, in which an eight-year-old Canadian girl dances krump and embodies a universe that does not yet belong to her.
This season closes with 68% occupancy, 31,000 tickets sold and 48% new audiences. And if the motto of the current one was “Who dances mutate”, that of the next one is “Who dances mutate… persists” “because only those who are able to mutate will be able to last”, concludes Margarit.
