El Hijo (2020)

Creation, lighting design and interpretation: Daniel Abreu
Direction assistant: Janet Novás
Dramaturgy assistant: Marina Wainer
Music: collage
Accesoires: Las practicables
Costume design: Leo Martínez y Daniel Abreu
Video projection and technical coordination: David Benito
Lighting design in collaboration with: Irene Cantero
Premiered 24th november as part of Festival de Otoño, Madrid
Technicians: Jose Espigares, Cristina Prieto y Alfredo Diez
Photography: marcosGpunto
Managment: Esmanagment-Elena Santonja
Supported by Comunidad de Madrid
Supported on tour: INAEM
Collaborators: Centro Coreográfico Canal, Escuela de Música y Danza de Pozuelo, Provisional Danza and Teatro Victoria
Thanks to: Carlota Ferrer, Museo de la Universidad de Navarra, Festival de Otoño de Madrid, Dácil González, Carmen Werner, Carmen Fuentes, Mara, Carmen Benítez, Elena P., Sergio García, Lucyanna Pettengil, Centro Cultural Paco Rabal, Teatro Victoria, Festival Danzattack, Centro Cultural Eguía, Lava de Valladolid

From the very onset of my career as creator I have been swimming in non-linear narrations. It’s a way of cooking with only natural ingredients, in which I examine the fragmented physicality, the open space, changing light, and an eclectic soundtrack. I do not conceive movement without an idea of the ever-changing lighting, space, and rhythm. The layers of the play move around a concept that captures my curiosity: in this case, offspring.

El hijo [‘The Son’] talks of the special bonds to parents and places, and how to deal with them. In a certain way, offspring understand themselves as individuals unloosening from the bond, yet hopelessly entangled in a repetition of manners and actions. Something which can only be partially explained because at the end of the day individuals always carry within them the echoing reinterpretation of their particular story.

Man in nature is engendered from the wonders of birth, and from then on his development is conditioned by the preferences and culture that shape him and his path through life. I present this descendant through the poetics of imagery and sound, and without showing them, I talk of his progenitors, places, and, above all, the magic that brought him to life. Through dance I release the rejoicing of what it means to be alive and have a story to tell, the experience and enthusiasm of being a son, the relationship with natural cycles and systems, and with them, the combined reactions within and beyond that are bearing witness to one’s existence.

In the play, a present-day conscious body moves repeatedly between other worlds inaccessible to the naked eye. With events portrayed in light and shadow, these worlds affect us and guide us along our outer paths and inner feelings. As emotional beings, we are all affected by the context of events that unfold in nature. With these words, I present El hijo.