Repertory
3. Fourteen Sixteen
“It’s a work that came out of my entrails. Nothing was predetermined and all fit on a single circumference without never ending”.
Tania Pérez- Salas
Choreography, idea and conception: Tania Perez-Salas
Music: Marin Marais, Girolamo Frescobaldi, Antonio Vivaldi,
Francois Couperin and Giovanni Battista Pergolesi
Original set design: Jorge Ballina
Lighting design: Víctor Zapatero
Costume design: Eloise kasan
Music edition: Nikolas Klaus
Choreography, idea and conception: Tania Pérez-Salas
Music: Meredith Monk, Monolake, Pan Sonic, Chris Isaak, Gustavo Cerati and Digitalverein.
Set design : Xóchitl González Quintanilla
Lighting design: Xóchitl González Quintanilla.
Costume design: Sara Salomon in collaboration with Miguel Garabenta.
Music edition: Tono MX, Claudio Pezzoti and Federico Quintana
Ex-stasis
We are so accustomed to controlling our emotions blocking out what we feel. The mind denies what the body wants, even denying what it needs, our sexuality and our sleep.
Modern life and current systems have trained us to work at all costs, moving us away from our brutal nature. We forget to trust our instincts, which has led our bodies to lose communication with our minds.
In this work, I attempt to listen from another perspective, one that is more connected to my own nature and to regain the satisfaction and pleasure of some of my basic needs: sleeping and thus dreaming , attentive to the messages the body has for the mind.
Tania Pérez-Salas
Macho Man XXI tackles with a sense of humor the effects of gender violence taking place in the chaotic, surreal and exotic Mexican Culture.
This gender conflict enrolled into a social legacy and displayed nowadays through the medias and their standards as well as through an underlying violence.
Macho Man XXI plays with all standards, Men/Women and sexuality. The piece takes its roots in fear, exhibiting a submissive, perverted state and a non recognition of self.
Tania Pérez-Salas
Macho Man XXI
Choreography, idea and conception: Tania Perez-Salas
Music: Nortec Collective, Todos tus Muertos, Panóptica, Javier Álvarez, Rojo Córdova and Cuarteto Latinoamericano, Los Zafiros, Los Cojolites, Susana Baca, Vicente Amigo, Chavela Vargas, Las Maya Internacional and Chabuca Granda .
Set design : Tania Pérez-Salas in collaboration with Alberto Orozco and Gabriel Torres Vargas
Lighting design: Gabriel Torres Vargas
Costume design: Luciana Corres.
Music edition Macho Man XXI: Tono: Federico Quintana and Claudio Pezzoti / Music edition and sound desing Macho Man XXI: Rodrigo Barberá
Waters of Forgetfulness
Waters of Forgetfulness
The water contains images, thoughts and feelings.
The woman cleans her stained body and her soul in the water.
Men do not exist without the water.
The man and woman are intertwined, being one in the water.
The water and the human are in harmony. Water in a life cycle.
That water that has an unlimited ability to drive metaphors and communicates its purity to contact.
Tania Pérez-Salas
Choreography, idea and conception : Tania Pérez-Salas
Music: Arvo Pärt, M. Danna and Stoa Group
Set and lighting design : Xóchitl González Quintanilla
Costume design: Sara Salomón
Music edition: Florencio Ruiz Mate
World Premiere: Palacio de Bellas Artes México. 2018.
Choraography, idea and concept: Tania Pérez-Salas.
Length: 30 minutes.
Music: Arvo Pärt and Peter Gabriel and Rodrigo Barberá.
Music design: Rodrigo Barberá
Set design: Tania Pérez-Salas and Rafael Mendoza Baltazar.
Costume design: Sara Salomón.
Lighting design: Rafael Mendoza.
Poduction: Contenidos Artisticos.
The choreographic piece Religare tries to bring the power of dance as a ritual that fosters and reconciles the bond of the concrete with the non-concrete, of the body and the spirit.
Religare, explores for a place which movement and rhythm try to expose the paradox between the material and the abstract.
Religare aims to commemorate the origin and permanent cycle of art as a abstractation of life and reconciliation with mysticism.
In the choreography of Religare the movements will be characterized by artistic creativity. Love, poetry and hope transcend their territory and impact where you see, hear and feel. At the origin of Dance this transcendence is recognized by the achievement of aesthetic and plastic expressions deep, sensitive and transcendent despite the fact that dance is considered an ephemeral art.