With Crisálida we wanted to explore the relationship between nature and man, and the everlasting (Western) question of man’s nature. Crisálida works elastically with recognisable images of humanity to explore and expand the contours of those images. Before our eyes, we see humanity in a process of dissolution; embodying not its nature, but nature herself, in its catastrophic condition, blurring its outline, becoming landscape.


 Before us there lies the basin of a dry river, naked and arid, with the surviving remains of that which has been thrown, dragged, deposited, hidden throughout its history. From the river and its splendour there only remains lees, a remembrance, barely a negative of something forgotten that is about to disappear. ¿What could we save from this desert? ¿What may save itself from such desertization?


The Jewish poet Paul Celan insisted on the dialogical nature of the poem (and, by extension, of art) by affirming that the poem is always coming, always under way. «Towards what?» —he asks. «Towards some open place, something that can be inhabited – maybe towards an accessible You».


The question that haunts us from the beginning is: what happens when this You is not accessible but it is desiccated and dry. It has forgotten his essential capacity for listening and shelter.


The question that goes after us is how this dry You –perhaps a collective You– could manage to prepare his world in order to shelter not only the known, our exhausted present, but the unknown that is coming, for which there aren’t yet names nor images.


It is not easy nor painless to look to our pathetic and forgotten humanity but we must assume our chosen desert, take it beyond all calculations, beyond every image, and above all, beyond any apocalyptic simplism. The human being has been given the right to rebirth, the right of being able to overcome his downfall, to give life to his rottenness and surpass his own condemnation.


In Crisálida we find an imperative: forgetting ourselves, forgetting our world, in order to create a flashing prompt space. Before the gaze of the witnessing audience, create an heterotopic (inner and outer) space to reelaborate how we live our bodies, to remember the only invariable trait in our our existence: the capacity to generate new living forms despite that culturally, rationally, they seem doomed to the most calculable failure.


You thought the fall - I am just its echo

Oriol López

The first part of the project has been supported by Creación Injuve 2019/ Institute of Youth of Spain and the Institut Valencià de Cultura and co­produced by the theater La Mutant of Valencia. This period includes the residency research at the American Dance Festival in Durham (North Carolina, US) and at the CDC of Teatros del Canal,

The solo piece was premiered at the theater La Mutant in Valencia the April 12nd 2019, in the frame of the 2019 edition Dansa­-Valencia festival.

Crisálida (Chrysalis) will be the second project of a set of future works about the notion of human vs lansdcape and the perversion of nature by man, which began with Nereo drowning and Nereidas.

Artistic team



Direction, choreography and performing: Joaquín Collado

Dramaturgy assistance: Oriol López

Scenography: Carmen Triñanes

Rehearsal assistance: Nico Jongen and Cruz Hernández

Sound and costume: Joaquín Collado

Sound and light technician: Michal Budzinski

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