Corol·la 2010


In the world of the scenic arts, and especially in the world of dance, it becomes very difficult to re-run creations. Underlying reasons include production, obviously, but also the complexity of recovering a language that is so ephemeral and often even desappears.

This notwithstanding, in our celebration we wish to re-perform some of the company’s repertory pieces that have been especially notable. One such case is Corol·la, premiered in Lyon in 1992, one of the most emblematic

works and one that has been most often staged, appearing in more than thirty cities in Europe and America up until the last presentation in 1999.

Corol·la is a solo that has always been interpreted by Àngels Margarit, and it is perhaps the dance where her essence is to be found in its most concentrated form, revealing those traits that have most configured her highly personal language. The great challenge now proposed by the choreographer is to bring this solo on stage right now in the person of Roser Lopez Espinosa, a dancer with lasting links to the company, and one whose qualities and energies so greatly blend with those of Àngels Margarit herself.

Corol·la is a solo,
a solo is a circle,
un cercle és una espiral,
a circle is a spiral
of images that move away
that move close
an infinite repetition
of oneself
of one’s own fragments.
Tumbling, breaking oneself,
whirling.

Corol·la is a piece based on
matter, instrument
rebeling and crashing
against itself.

Corol·la is a poetic space
where each object has
a secret yet evident
relationship with dance

Corol·la is an impulse
that orders and disorders
the memory of my body .

                Àngels Margarit, 1992

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Direction and choreography Àngels Margarit
Dancer Roser Lopéz Espinosa
Original music Joan Saura
Javier Mas
Hamza el Dim-Kronos Quartet
Scenography Llorenç Corbella
Pictures Anna MIQUEL
Costumes Lydia Delgado
Irene Julve
Lighting Ferran Capella
Technical team Marc Ases
Núria Navarro
Pere Milan
Management team Begonya Companyon
Montserrat Llabrés
David Márquez

Corol·la 2010 is a coproduction with Mercat de les Flors, Barcelona. and Teatre L’Escorxador, Lleida.
with the collaboration of Teatre La Sala, Rubí

Place and date of the premiere

Teatre Municipal de L’Escorxador (Lleida, Spain)
25th April 2010

Àngels Margarit n’est pas une inconnue en France: son original Kolbebasar avait remporté le grand prix de concours de Bagnolet 1988, on a pu la revoir ensuite au Centre Georges Pompidou -et elle fréquente les scènes internationales. Elle offre à Lyon Corol·la, un solo qui séduit par la belle fludité, l’ample respiration d’une danse basée sur le cercle, la spirale, le tournoiement.
Sylvie de Nussac, Le Monde, Lyon (França), 27 / 28 setembre 1992

Corol.la a beautiful spiraling pure-dance solo by Àngels Margarit.
Anna Kisselgoff, The New York Times, N.Y. (EEUU), 30 setembre 1992

Un solo de 45 minutos que es un auténtico alarde del talento creativo y de la nitidez y elegancia de movimiento que posee su autora.
Carmen del Val, El País, Barcelona (Espanya), 6 febrer 1993

Si algo tiene el espectáculo de Àngels Margarit es sensibilidad.
Corol·la se suma a los extraordinarios solos que nos ha ofrecido la bailarina a lo largo de su carrera…
Cada movimiento que realiza la bailarina cuenta con la justa dosis de energia que precisa la ejecución, y ello permite que el gesto se extinga de manera suave y controlada, y se dibujen unos fragmentos ricos en acentos y matices que se impregnan de emoción con los ritmos de la evocadora música de Javier Mas y Joan Saura.
La textura de los materiales, la ubicación de los colores, la iluminación llena de claros y oscuros, y los trazos del vestuario también son parte de las cualidades de este sereno y radiante espectáculo, y contribuyen a destacar su delicada sensibilidad.
Montse G. Otzet, El Periódico, Barcelona (Espanya), 7 febrer 1993

Àngels Margarit despliega con su solo toda la riqueza artística que encierra su corazón de bailarina.
Al margen de su reconocida y meritoria labor coreográfica al frente de su grupo Mudances, Àngels Margarit siempre ha destacado en su vertiente de intérprete. Poseedora de un
movimiento limpio de gran intensidad, sabe conjugar la sensualidad femenina con la manifestación de una fuerza interior en un combinado realmente atractivo.
El éxito de su Solo para una habitación de hotel ya ponía de manifiesto cómo un trabajo aparentemente sencillo es capaz de evocar toda una sinfonía de emociones. Exactamente lo mismo cabría decir del solo construido a partir de su Atzavara. Ha sido, pues, una decisión muy acertada y gratificante para el espectador la de seguir desarollando estos solos.
Marjolijn van der Meer, La Vanguardia, Barcelona (Espanya), 8 febrer 1993

Corol·la, és també un prodigiós solo coreogràfic de quaranta-cinc minuts al voltant d’uns motius inicials -la flor en moviment, la rotació, el cercle-…
Corol·la, estèticament, i al marge de la captivadora interpretació de la ballarina, suposa una fusió completament aconseguida entre dansa, arts plàstiques i música.
Xavier Pérez, Avui, Barcelona (Espanya),9 febrer 1993

And when she whirls, as if spun by some warm, southerly-amber-smelling wind-drift…skirts belling out like poppy-petals, body pliant like stamens, bending yet somehow searching within those air currents- well, at that point, there is pure, untramelled loveliness in the dance of Àngels Margarit.
What endures is the exquisite quality of her dance; she can be staccato, fluid, floor-squirming, raunchy strutting and so much more besides. She is at New Moves and she can be seen tonight. See her and know that Spain is probably the unrecognised shaker and mover in new dance.
Mary Brennan, The Herald, Glasgow (U.K.), 13 febrer 1993

It is difficult to describe Margarit without getting carried away -the spirit of her dance so beautifully overpowers any objective discussion.
Her movements have the sparkle of dust caught in a sunbeam.
Though there is a striking simplicity to her work, it is one which has been distilled down through a complexity of ideas.
Seamlessly structured and performed with the irresistible combination of sophistication and grace, this piece has the vibrant spontaneity of the flamenco gypsy and will definitely remain one of the highlights of this year’s New Moves.
Alice Bain, Scotland on Sunday, Glasgow (U.K.), 14 febrer 1993

Last night, it was the turn of Àngels Margarit. I reckon she had won the audience over from the moment she appeared dressed dramatically in black and using just about all the stage in the first few minutes. Her flamboyant style is typical of the vibrancy of Barcelona, shifting from the confident and powerful, to the vulnerable and impish.
Carl Palmer, Manchester Evening News, Manchester (U.K.), 18 maig 1994

She moves with luscious ease, falling, rebounding, pirouetting on her knees, shoulders, feet, treating the ground as though it were waterl.
She envelops herself in a skein of straw, thrashing around the stage; then frees herself to tease out a single strand as Joan Saura’s cello strings vibrate in sympathy.
The last time I saw her dance a solo was in a hotel room in Montréal. Only a handful of people could watch her 15-minte performance at any one time, sharing with extraordinary intimacy her sense of desolation, isolation, in an impersonal room far from home. In Corol·la she is a different person, serene and sunny, flirtatious, even. Sitting demurely in a square of light, hands folded in her lap, she engages our gaze like an Infanta posing for her portrait.
Jann Parry, The Observer, Londres (U.K.), 25 maig 1994

Corol.la es un hito importante en la carrera de esta coreógrafa de Terrassa, pues resume y sintetiza toda una manera de entender la danza contemporánea. Sin necesidad de ningún bailarín que le traduzca sus propuestas, elimina el riesgo que la literatura que la literatura define tan bien por el conocido “traduttore, tradittore”.
Pero, de qué nos hace partícipes la señora Margarit? Pues de su personal lectura trascendente o metafísica en la aventura de vivir. Recuperando la componenda mágica del círculo, Margarit emplea para ello imágenes austeras y sencillas, que gracias al pausado tempo que respira ofrecen múltiples sugerencias.
Pero su gran aportación consiste en dar una marca de referencia inequivocamente mediterráneo, significativamente luminosos, contrastado y colorista.
Rosly Ayuso, El Mundo, Barcelona (Espanya),15 març 1997