CUL DE SAC

Expression of Occitan origin meaning, literally, the “bottom of the bag”.
1. Used to refer to a dead end, blind alley or no-through road.
2. A tube open at only one end.
3. A course of action that leads nowhere, or a situation in which further progress is impossible.
“The first step might come some day. As far away as possible.”
Samuel Beckett, The Unnamable

Cul de Sac is the latest research project for the stage from the Kor’sia cultural association, under the leadership of Spanish-based Italian choreographers Antonio de Rosa and Mattia Russo. Kor’sia is a space for meeting and exchan- ging ideas, promoting the creation of networks within Madrid’s cultural sphere.

For this project, the association draws from its passion for professionalizing and incorporating diverse visions in its work, relying on collaborators from the fields of communications, pro- duction, management and cultural creation. Kor’sia also has the support of the dancers from the Compañía Nacional de Danza, which is currently under the leadership of José Carlos Martínez, as well as other artists and professionals that have established themselves in Madrid’s cultural scene.

Cul de Sac

The title of the piece is indicative of its conceptual universe: the physical and mental limits that constrain the desires for fulfill- ment shared by all human beings.

The dance assumes a certain narrative character and presents us with a community of beings confined bet- ween four walls, bound to a social pact, but, most of all, to unearthing freedom in their heart of hearts.

The essential reference is the universe of Juan Muñoz, the Spanish artist who passed away a year after receiving the Pre- mio Nacional de Artes Plasticas, in 2001. In short, we can say that Cul de Sac “exports” the sculptor’s imagination, infu- sing his lead gray, monochromatic figures with life, and imbuing the tensions between individuality and society suggested by his installations with movement.

With its attractive mixture of registers and styles, and its nods to narration and the dramatic arts, Cul de Sac is the ideal pie- ce for bringing modern dance to the general public, and for radiating Juan Muñoz’s legacy both in and outside of Spain.

Its influence has been demonstrated thus far by the shortened versions of this project that have been performed in Sens (Fran- ce), Pamplona and at the Teatro Circo in Murcia, where critics emphasized the proposal’s audacity and competence:

“A breath of fresh air, imaginative, charismatic and with great depth. Tight and with no cracks”.

Cul de Sac has been made possible thanks to support from the Les Synodales Festival in Sens, located in the Bourgogne- Franche-Comté region of France.

And most of all, thanks to the invaluable help from the Compañía Nacional de Danza, directed by José Carlo Martínez,, one hour Cul de Sac piece involving eight dancers, which will premier at the Teatro de Baracaldo during the Festival Dantzaldia in September of 2016, under the direction of Laura Etxebarria…
Idea and choreography
Mattia Russo y Antonio de Rosa /Drama: María Velasco González /Sound space Marco Palazzo/Stage desing and lighting :Mónica Boromello/MusicArvo Part,varios /Costumes Kor’sia and Carmen Granel/TechnicianRosa Ana García Lara/ProductionGabriel Blanco/Dancers:
Mattia Russo, Antonio de Rosa, Astrid Elisabeth Bramming, Mar Aguilò, Agnès López Río, Alejandro Moya, Iris Borràs
/Female voice:Patricia Rezai/Male voice:Agustin Aguilò/Photography© María Alperi
Length: 50 minutes