rotterdam
this is the dress i just bought
it's very comfortable, really!
marcel-li, the flesh robot
Barcelona
The truth is, I don't care about being an artist
for me it's just a means to interprete the world
to be able to be free
and to live, because I live off of this.
Who knows, I could have been a biologist,
I could have stayed in the country house I was born in
and followed in my father's footsteps and been a butcher and a peasant,
or something like that,
but I dedicated myself to art,
so at 17 I ran away from my village, Mojad
and arrived in Barcelona,
and here I started a new life.
As far as my childhood goes, I was born into a country family,
my family is made up of peasants and butchers,
my house had fields, a stable for the sheep and pigs,
and under the house there was the butcher.
I come from a large family, there were 6 children,
my family was a complete social context, very rich in contrasts.
Ever since I was small I've been living the sharpest contrats life can offer,
the sublime demonstration of birth through the birth of bulls, of calves,
the dog, I lived through all of this as a child,
and at the same time death,
the sudden death of the animals who didn't want to get down from the truck to go and die at the butchers'
Every week I'd go to the butchers' with my father to take the sacrificed animals
I remember my village butchers' with red blood stains,
I lived in this context from the age of 7, 8, 9, 10.
The atmosphere generated during an animal's death,
the vibration that gets formed between those people is really very strong,
it's a tension that's percieved in the atmosphere and one which I grew up in.
The same animals I would see dying, I would later see chopped up with their intestines pulled out,
that's how this interest with life came to me, to penetrate beyond the skin inside the body
to understand what's inside us.
I waa interested in either veterinary science or biology,
but the more I studied the more I realised that wasn't what I really wanted,
whatever the case, I just wanted to study and get out of my village,
and my goal was to go to Barcelona,
so I thought it might be a good idea to apply to Fine Arts
which wasn't easy because there was an entrance exam,
but I got in and my life changed dramatically,
I was very young and was leaving a lifestyle frozen into a past century,
and I started to live a 20th centry life, the city, traffic lights,
the metro, anonymity,
and also a life of alcohol and noise.
But it was also a life of freedom, of emancipation,
like some initiation into a new life lived with total awareness and responsibility.
la fura del del baus
In my second year of studies Pere Tantina and Carlos Padrissa arrived in Barcelona
We rented a room in this little street close to the theatre and there we formed the Fura dels Baus.
The company is still going strong today, but at the time of it’s creation,
It was a kind of entertaintment theatre, like a positive reinvention of folklore.
From: ACTIONS
FURA DEL BAUS’s first show - 1984
This show took place in a gallery where the metro trains would pass through
and the trains would pass through the audience and interrupt the show.
That's how the character who's inside the barrel was born,
and the violent characters who break up the cars.
This entirely original music got created,
and the final scene was conceived with the hanging bodies, covered in red, who'd crawl around a white wall.
The director of the drama center saw it and 8 months later we were working on the final version.
The Fura created this direct and radical way to do theatre,
a work which broke away from the traditional workings of theatre,
the spectator would mix with the public, the actions took place among the audience,
This radical reworking was really just a reinvention of the folklore theatre
we'd been seeing for 5 years in the Catalugna piazzas.
We'd reinterpret the festive feeling of folklore as a weapon to be fired at the audience.
Fura del Baus: SUZ/O/SUZ - 1985
The Fura aimed to blend lots of styles starting from a Rock aesthetic,
in the emotion of the live music,
and anything that could be performance,
two languages moving along separate parallel lines which get blended,
I think this is very clear in Action as it is in Suz and Tier Mon,
you get a creation of archetypes,
the audience clearly identifies the performers as symbols,
and you get a well defined relationshop with the idea of violence, of suffering
the idea of youth, the idea of the warrior,
creating these archtypes who function within a language that has no need for words.
Fura del Baus : TIER MON - 1988
Los Rinos
Sergi Caballero, Pau Nubiola and I live the Los Rinos experience for 7 years
the interesting thing about the Rinos was this absurd dialogue that got formed,
an intellectual discourse founded on the absurd.
The Rinos' creative process culminated in '91 with the creation of a gothic cabaret, strange
with a mixture of genres ranging from the operetta to pornography,
with the title Rinolaxia Conference 1991.
And alongside Sergi, Pau and myself, the dancer Sol Pico got involved.
From: RINOLAXIA - 1990
LOS RINOS
I believe Marcel-li is a multi-disciplinary artist with the gift of a strong ironic edge,
who's always trying to go beyond what he's already done,
I think that in art it's fundamental to go beyond what you've already done
· and how much you appreciate it is your own business,
but I think he's a man who travels alot with his mind when working on his stories.
The short films made in collaboration with the director Aixala'.
I've known Marcel-li for years, since the first Fura show.
I produced a reportage with some friends on the Fura's first show.
From: RETRATS - 1993
Antunez - Aixala'
Retrats was born from these ideas that we had kept asleep in our imagination
a series of characters we might have known placed in limited situations.
For example, the situation with the girl reading Boris Vian with a gun,
it's something I find normal, that this girl with the gun in her mouth really had to exist.
From: RETRATS - 1993
Antunez - Aixala'
An important thing in Retrats was the choice of actors,
and Sol Pico proved to be terrific.
From: RETRATS - 1993
Antunez - Aixala'
The most interesting thing was how Sol interpreted the scene not as a drammatic act but as something pleasurable.
That's how you get the paradox, because it's a very hard image but it seems like she's getting pleasure out of it.
The scene with the meat was one of the most emotional experiences I've had
just being there naked with just a pair of shoes on in that tiny nauseating space
was already enough to put you in a very particular atmosphere,
but that experience with Marcel-li, at the start of my career
took alot out of me and made me enter another kind of world and language
which has had a positive influence on my whole career.
Marcel-li and myself have both been insulted for filming certain things,
Noan Goldin told us we were terrorists with no right to life or to death,
this german festival director nearly beat me up,
but I think it's the best and most interesting thing I've ever done.
Both Marcel-li and I are from the Catalugna area,
I think these are things we've been seeing continuously since we were kids,
the friend who masturbates his dog for fun,
or the lady who, before going to mass, masturbates her dog,
so that he run off to the fields to chase the bitches.
These are very real things.
It's clear that taking them away from their context and placing them in limited situations...
helps them to acquire a special strength and violence.
Along with this work, 6 months later, we shot the film Fronton, l'Hombre Navarro.
With Aixalla', 1992 proved to be a very prolific year
which gave Retrats, Fronton and Hombre Navarro as a result.
From: FRONTON - 1993
Antunez - Aixala'
I see childhood as something objective and things that are considered shocking, for me are not
because they are part of an objective reality.
It's not that they aren't shocking, it's that they are part of reality
I'm attracted to this kind of thing,
who knows, maybe it's in my character to like what's orgiastic
certain ways of showing the body in it's extremes...
which for me are pure poetry.
I work in this direction and I don't care what the public thinks
I'm obviously paying for it, I'm not a popular artist nor an artist of the masses.
These mutilated heads are as though stuck in a moment of ecstasy
they're made of human flesh remains,
and immersed in formaldehyde...
and constructed using parts of pigs' heads,
they were part of an exhibition entitled: "Life without love has no feeling"
In '92 and '93 while making my films, I made the robot Juan the flesh man.
This work was my first step towards a fascination with technology
the use of a computer and a reflection on the possibilities of interface.
Without losing my spirit because it starts with a Robot made of flesh.
Epizoo
Epizoo is a hybrid of installion and performance,
I imagined a type of Robot, a BodyBot...
a parassitic machine on my body,
and the spectator, using a mouse, can move various parts of my body.
At the same time controlling the lights, the images projected on the screen and the sound.
Epizoo also means something else, it is born as an erotic machine.
Epizoo is a critical response to the conception of the body regarding the problem of AIDS.
It can provoke pleasure and its opposite, that is pain, without contamination...
using the computer interface which sends signals to my body.
This performance gains a new way putting ourselves in relation, that is telematic relation.
Epizoo is also a kind of bizarre ritual
a kind of mass, a religious cerimony where various types of iconography get blended
Religious iconography alongside cartoon style animated pictures,
and you get an imagery tied up with the idea of sacrifice in Mediterreanean sculpture.
In Epizoo it is the performer offering himself in sacrifice to the public...
I've been educated in an iconographic universe based on the catholic religion
which is an extreme iconographic universe
I think the catholic religion takes on several aspects of paganism
and is founded on the figures of saints, from the old to the new testaments
in an incredible representation
the figure of Christ on the cross with the crown of thorns and the blood.
the figure of the Virgin within an exceptional canon of beauty...
I'm not a religious person but the conception of the world is founded on these images
in the same way as my conception of the world is founded on black and white TV
on adventure cinema, Westerns...
satellite obscene
Our conception of rites comes from a telluric tradition created in the rural world
and in parallel with this rural world with its cyces of life, death, sacrifice, etc
lies the so-called cultural world
which is inspired by television, by black and white cinema, Tarzan, by documentaries on black Africa, etc.
So the materials used for the Satellite performance are supermarket materials
We don't recreate a rite with organic materials such as blood or semen or shit or urine
but reinvent these organic substances in the forms of ketchup, ot milk or chocolate.
Bern - 2002
Performance Art is a genre which lies at the borders of several activities,
it is on a border with drammatic art,
on a border with technology, with visual arts,
and that's why it finds itself in an hugely free space.
a space which is hard to classify
which is why performance art, which manifests itself in total freedom, is an act beyond genres,
Artistic activity has a therapeutic side,
if the artist is honest with himself the act of creation is an act of freedom.
It's an act of liberation...
If an artist creates he is healthy because he is freeing his energy,
he's fulfilling a psychological and psychophisiological task which takes care of and cures him.
Afasia
Afasia is about a cerebral problem
which is the loss of the capacity to read and recognise photographs.
It is a wound to the left side of the brain
which produces this effect
and those who suffer from Aphasia will sometimes never learn to read and sometimes will.
When I discovered this illness I realised our society is aphasic
We are living in times where the values of interpretation have changed
We have this new way of seeing the world which we have to learn to "read"
and my show Afasia follows this theme,
it's about a problem of discontinuity, the blending of genres, of languages
and also about the brutality and provocation which generates this confusion.
Afasia is also a version of the Odyssey, and the Odyssey is the founding myth of our culture
Among the great myths there's the Divine Commedy, the Aeneid and then there's Ulysses...
I read the Odyssey thinking the audience didn't necessarily have to follow the story
because I think that stories degrade culture and the story doesn't count because it's always the same story.
I think of man as an animal who behaves in an instinctive manner,
the instinctive process has been mutated by culture and so we've reinvented our appetites
according to the elements which conform our lives,
but we remain as instinctive animals and sex is a part of this.
I'm not so interested in sex as much as in the orgiastic side of sex,
I see it on a superior level
there’s an element of insanity and those taking part lose control
it goes beyond mere sexuality and reaches levels of insanity.
I see this as the concept of the orgy which , from a social point of view,
is a very radical element, very corrosive and very critical at the same time.
When I go see his performances they make me laugh,
because I see the way he moves, his physique, the way he talks
his body is omnipresent
he’s turned it in to a work of art
and on that body you get the projection of all those human facets that are part of all of us,
like our demons, sex...
Roland
The Robot maker
I think he manipulates the robot, like a master of ceremonies,
in a way he’s like the circus director,
they’re like his little slaves
What Marcel-li likes is controlling his robot, lifting his arm makes a movement
which makes a sound depending on what movement he makes.
I don’t see Marcel-li as a Robot but the Robots are like his right arm
The robots are like little actors for Marcel-li
If they are working the idea is that they assume the role of actors,
so that the audience can associate a character with each robot,
in a way the robot should have a soul
they’re not just inanimate pieces of alluminium with an antenna to recieve signals,
That’s why the audience can establish a relationship with the robots!
And why they applaud him at the end of the show.
Because the robots have stirred up real emotions in the audience during the show.
Pol
Pol is another interractive show and a performance based on the use of technology
and the story takes place from numeration, from a bill.
The theme is the loss of innocence within a fictitious world called Pol.
The story started when I lost my teeth
My character is a princess addicted to sausages
Marcel-li wanted my role to be linked to the fact that I’m a dancer and actress.
The work involves alot of gestures and miming,
It’s not a traditional recital with a text
And as a Flamenco dancer I liked taking on the role of actress.
I think Marcel-li is connected with a typically Catalan tradition
which you get with Gaudi’, with Miro’, with Dali’.
Marcel-li gets his things from the stomach
ss if he were bringing his stomach up to his head,
even though there’s no apparent link, I think Gaudi’, Miro’ and Dali’ are somewhere in his work
He has a very personal, surreal world,
It’s like’s he’s vomiting out the truth.
Marcel-li is a force of nature
He's someone who manages to gather everything that’s inside him and hurl it out.
Begogna’s my wife and the mother of my children
and the woman with whom I share my life
The birth of our children Adelaide and Alvaro, in that order,
has built up our feelings and strengthened our relationship.
The presence of your own children is wonderful, it’s like meeting up with your own childhood
a way of understanding, not just your own life, but that of your father.
It’s a way of broadening your emotions and ways of viewing your existence.
But at the same time, the birth of your children closes a cycle
in the knowledge that they’ll live longer than you
so in a way they prepare you for death, you can even die now.
Who knows what life will be like away from this earth...
A life filled with cars, men, organic forms, robots ...
Who knows if there’ll be room for utopia,
If this’ll be the space where ideas can reach a new order,
Coming together like a new, special, fantastic place...
this is the dress i just bought
it's very comfortable, really!
marcel-li, the flesh robot
Barcelona
The truth is, I don't care about being an artist
for me it's just a means to interprete the world
to be able to be free
and to live, because I live off of this.
Who knows, I could have been a biologist,
I could have stayed in the country house I was born in
and followed in my father's footsteps and been a butcher and a peasant,
or something like that,
but I dedicated myself to art,
so at 17 I ran away from my village, Mojad
and arrived in Barcelona,
and here I started a new life.
As far as my childhood goes, I was born into a country family,
my family is made up of peasants and butchers,
my house had fields, a stable for the sheep and pigs,
and under the house there was the butcher.
I come from a large family, there were 6 children,
my family was a complete social context, very rich in contrasts.
Ever since I was small I've been living the sharpest contrats life can offer,
the sublime demonstration of birth through the birth of bulls, of calves,
the dog, I lived through all of this as a child,
and at the same time death,
the sudden death of the animals who didn't want to get down from the truck to go and die at the butchers'
Every week I'd go to the butchers' with my father to take the sacrificed animals
I remember my village butchers' with red blood stains,
I lived in this context from the age of 7, 8, 9, 10.
The atmosphere generated during an animal's death,
the vibration that gets formed between those people is really very strong,
it's a tension that's percieved in the atmosphere and one which I grew up in.
The same animals I would see dying, I would later see chopped up with their intestines pulled out,
that's how this interest with life came to me, to penetrate beyond the skin inside the body
to understand what's inside us.
I waa interested in either veterinary science or biology,
but the more I studied the more I realised that wasn't what I really wanted,
whatever the case, I just wanted to study and get out of my village,
and my goal was to go to Barcelona,
so I thought it might be a good idea to apply to Fine Arts
which wasn't easy because there was an entrance exam,
but I got in and my life changed dramatically,
I was very young and was leaving a lifestyle frozen into a past century,
and I started to live a 20th centry life, the city, traffic lights,
the metro, anonymity,
and also a life of alcohol and noise.
But it was also a life of freedom, of emancipation,
like some initiation into a new life lived with total awareness and responsibility.
la fura del del baus
In my second year of studies Pere Tantina and Carlos Padrissa arrived in Barcelona
We rented a room in this little street close to the theatre and there we formed the Fura dels Baus.
The company is still going strong today, but at the time of it’s creation,
It was a kind of entertaintment theatre, like a positive reinvention of folklore.
From: ACTIONS
FURA DEL BAUS’s first show - 1984
This show took place in a gallery where the metro trains would pass through
and the trains would pass through the audience and interrupt the show.
That's how the character who's inside the barrel was born,
and the violent characters who break up the cars.
This entirely original music got created,
and the final scene was conceived with the hanging bodies, covered in red, who'd crawl around a white wall.
The director of the drama center saw it and 8 months later we were working on the final version.
The Fura created this direct and radical way to do theatre,
a work which broke away from the traditional workings of theatre,
the spectator would mix with the public, the actions took place among the audience,
This radical reworking was really just a reinvention of the folklore theatre
we'd been seeing for 5 years in the Catalugna piazzas.
We'd reinterpret the festive feeling of folklore as a weapon to be fired at the audience.
Fura del Baus: SUZ/O/SUZ - 1985
The Fura aimed to blend lots of styles starting from a Rock aesthetic,
in the emotion of the live music,
and anything that could be performance,
two languages moving along separate parallel lines which get blended,
I think this is very clear in Action as it is in Suz and Tier Mon,
you get a creation of archetypes,
the audience clearly identifies the performers as symbols,
and you get a well defined relationshop with the idea of violence, of suffering
the idea of youth, the idea of the warrior,
creating these archtypes who function within a language that has no need for words.
Fura del Baus : TIER MON - 1988
Los Rinos
Sergi Caballero, Pau Nubiola and I live the Los Rinos experience for 7 years
the interesting thing about the Rinos was this absurd dialogue that got formed,
an intellectual discourse founded on the absurd.
The Rinos' creative process culminated in '91 with the creation of a gothic cabaret, strange
with a mixture of genres ranging from the operetta to pornography,
with the title Rinolaxia Conference 1991.
And alongside Sergi, Pau and myself, the dancer Sol Pico got involved.
From: RINOLAXIA - 1990
LOS RINOS
I believe Marcel-li is a multi-disciplinary artist with the gift of a strong ironic edge,
who's always trying to go beyond what he's already done,
I think that in art it's fundamental to go beyond what you've already done
· and how much you appreciate it is your own business,
but I think he's a man who travels alot with his mind when working on his stories.
The short films made in collaboration with the director Aixala'.
I've known Marcel-li for years, since the first Fura show.
I produced a reportage with some friends on the Fura's first show.
From: RETRATS - 1993
Antunez - Aixala'
Retrats was born from these ideas that we had kept asleep in our imagination
a series of characters we might have known placed in limited situations.
For example, the situation with the girl reading Boris Vian with a gun,
it's something I find normal, that this girl with the gun in her mouth really had to exist.
From: RETRATS - 1993
Antunez - Aixala'
An important thing in Retrats was the choice of actors,
and Sol Pico proved to be terrific.
From: RETRATS - 1993
Antunez - Aixala'
The most interesting thing was how Sol interpreted the scene not as a drammatic act but as something pleasurable.
That's how you get the paradox, because it's a very hard image but it seems like she's getting pleasure out of it.
The scene with the meat was one of the most emotional experiences I've had
just being there naked with just a pair of shoes on in that tiny nauseating space
was already enough to put you in a very particular atmosphere,
but that experience with Marcel-li, at the start of my career
took alot out of me and made me enter another kind of world and language
which has had a positive influence on my whole career.
Marcel-li and myself have both been insulted for filming certain things,
Noan Goldin told us we were terrorists with no right to life or to death,
this german festival director nearly beat me up,
but I think it's the best and most interesting thing I've ever done.
Both Marcel-li and I are from the Catalugna area,
I think these are things we've been seeing continuously since we were kids,
the friend who masturbates his dog for fun,
or the lady who, before going to mass, masturbates her dog,
so that he run off to the fields to chase the bitches.
These are very real things.
It's clear that taking them away from their context and placing them in limited situations...
helps them to acquire a special strength and violence.
Along with this work, 6 months later, we shot the film Fronton, l'Hombre Navarro.
With Aixalla', 1992 proved to be a very prolific year
which gave Retrats, Fronton and Hombre Navarro as a result.
From: FRONTON - 1993
Antunez - Aixala'
I see childhood as something objective and things that are considered shocking, for me are not
because they are part of an objective reality.
It's not that they aren't shocking, it's that they are part of reality
I'm attracted to this kind of thing,
who knows, maybe it's in my character to like what's orgiastic
certain ways of showing the body in it's extremes...
which for me are pure poetry.
I work in this direction and I don't care what the public thinks
I'm obviously paying for it, I'm not a popular artist nor an artist of the masses.
These mutilated heads are as though stuck in a moment of ecstasy
they're made of human flesh remains,
and immersed in formaldehyde...
and constructed using parts of pigs' heads,
they were part of an exhibition entitled: "Life without love has no feeling"
In '92 and '93 while making my films, I made the robot Juan the flesh man.
This work was my first step towards a fascination with technology
the use of a computer and a reflection on the possibilities of interface.
Without losing my spirit because it starts with a Robot made of flesh.
Epizoo
Epizoo is a hybrid of installion and performance,
I imagined a type of Robot, a BodyBot...
a parassitic machine on my body,
and the spectator, using a mouse, can move various parts of my body.
At the same time controlling the lights, the images projected on the screen and the sound.
Epizoo also means something else, it is born as an erotic machine.
Epizoo is a critical response to the conception of the body regarding the problem of AIDS.
It can provoke pleasure and its opposite, that is pain, without contamination...
using the computer interface which sends signals to my body.
This performance gains a new way putting ourselves in relation, that is telematic relation.
Epizoo is also a kind of bizarre ritual
a kind of mass, a religious cerimony where various types of iconography get blended
Religious iconography alongside cartoon style animated pictures,
and you get an imagery tied up with the idea of sacrifice in Mediterreanean sculpture.
In Epizoo it is the performer offering himself in sacrifice to the public...
I've been educated in an iconographic universe based on the catholic religion
which is an extreme iconographic universe
I think the catholic religion takes on several aspects of paganism
and is founded on the figures of saints, from the old to the new testaments
in an incredible representation
the figure of Christ on the cross with the crown of thorns and the blood.
the figure of the Virgin within an exceptional canon of beauty...
I'm not a religious person but the conception of the world is founded on these images
in the same way as my conception of the world is founded on black and white TV
on adventure cinema, Westerns...
satellite obscene
Our conception of rites comes from a telluric tradition created in the rural world
and in parallel with this rural world with its cyces of life, death, sacrifice, etc
lies the so-called cultural world
which is inspired by television, by black and white cinema, Tarzan, by documentaries on black Africa, etc.
So the materials used for the Satellite performance are supermarket materials
We don't recreate a rite with organic materials such as blood or semen or shit or urine
but reinvent these organic substances in the forms of ketchup, ot milk or chocolate.
Bern - 2002
Performance Art is a genre which lies at the borders of several activities,
it is on a border with drammatic art,
on a border with technology, with visual arts,
and that's why it finds itself in an hugely free space.
a space which is hard to classify
which is why performance art, which manifests itself in total freedom, is an act beyond genres,
Artistic activity has a therapeutic side,
if the artist is honest with himself the act of creation is an act of freedom.
It's an act of liberation...
If an artist creates he is healthy because he is freeing his energy,
he's fulfilling a psychological and psychophisiological task which takes care of and cures him.
Afasia
Afasia is about a cerebral problem
which is the loss of the capacity to read and recognise photographs.
It is a wound to the left side of the brain
which produces this effect
and those who suffer from Aphasia will sometimes never learn to read and sometimes will.
When I discovered this illness I realised our society is aphasic
We are living in times where the values of interpretation have changed
We have this new way of seeing the world which we have to learn to "read"
and my show Afasia follows this theme,
it's about a problem of discontinuity, the blending of genres, of languages
and also about the brutality and provocation which generates this confusion.
Afasia is also a version of the Odyssey, and the Odyssey is the founding myth of our culture
Among the great myths there's the Divine Commedy, the Aeneid and then there's Ulysses...
I read the Odyssey thinking the audience didn't necessarily have to follow the story
because I think that stories degrade culture and the story doesn't count because it's always the same story.
I think of man as an animal who behaves in an instinctive manner,
the instinctive process has been mutated by culture and so we've reinvented our appetites
according to the elements which conform our lives,
but we remain as instinctive animals and sex is a part of this.
I'm not so interested in sex as much as in the orgiastic side of sex,
I see it on a superior level
there’s an element of insanity and those taking part lose control
it goes beyond mere sexuality and reaches levels of insanity.
I see this as the concept of the orgy which , from a social point of view,
is a very radical element, very corrosive and very critical at the same time.
When I go see his performances they make me laugh,
because I see the way he moves, his physique, the way he talks
his body is omnipresent
he’s turned it in to a work of art
and on that body you get the projection of all those human facets that are part of all of us,
like our demons, sex...
Roland
The Robot maker
I think he manipulates the robot, like a master of ceremonies,
in a way he’s like the circus director,
they’re like his little slaves
What Marcel-li likes is controlling his robot, lifting his arm makes a movement
which makes a sound depending on what movement he makes.
I don’t see Marcel-li as a Robot but the Robots are like his right arm
The robots are like little actors for Marcel-li
If they are working the idea is that they assume the role of actors,
so that the audience can associate a character with each robot,
in a way the robot should have a soul
they’re not just inanimate pieces of alluminium with an antenna to recieve signals,
That’s why the audience can establish a relationship with the robots!
And why they applaud him at the end of the show.
Because the robots have stirred up real emotions in the audience during the show.
Pol
Pol is another interractive show and a performance based on the use of technology
and the story takes place from numeration, from a bill.
The theme is the loss of innocence within a fictitious world called Pol.
The story started when I lost my teeth
My character is a princess addicted to sausages
Marcel-li wanted my role to be linked to the fact that I’m a dancer and actress.
The work involves alot of gestures and miming,
It’s not a traditional recital with a text
And as a Flamenco dancer I liked taking on the role of actress.
I think Marcel-li is connected with a typically Catalan tradition
which you get with Gaudi’, with Miro’, with Dali’.
Marcel-li gets his things from the stomach
ss if he were bringing his stomach up to his head,
even though there’s no apparent link, I think Gaudi’, Miro’ and Dali’ are somewhere in his work
He has a very personal, surreal world,
It’s like’s he’s vomiting out the truth.
Marcel-li is a force of nature
He's someone who manages to gather everything that’s inside him and hurl it out.
Begogna’s my wife and the mother of my children
and the woman with whom I share my life
The birth of our children Adelaide and Alvaro, in that order,
has built up our feelings and strengthened our relationship.
The presence of your own children is wonderful, it’s like meeting up with your own childhood
a way of understanding, not just your own life, but that of your father.
It’s a way of broadening your emotions and ways of viewing your existence.
But at the same time, the birth of your children closes a cycle
in the knowledge that they’ll live longer than you
so in a way they prepare you for death, you can even die now.
Who knows what life will be like away from this earth...
A life filled with cars, men, organic forms, robots ...
Who knows if there’ll be room for utopia,
If this’ll be the space where ideas can reach a new order,
Coming together like a new, special, fantastic place...