Who are we?
SOME HISTORY
Barcelona 2003 – 2008:
From Gracia until Clot going by Gótic and Poblenou in Barcelona
La Quadra Magica was founded in the year 2003 by the musician and Valencian director Josep M. Riera (Munlogs) and the actor and Argentinean director Nicolás Yanco Engel. In one year and a half we’ve represented 19 assemblies in a small block of horses located in the Gothic neighborhood of Barcelona. In 2005 Nicolás Yanco and Josep Riera broke their relationship. The same year Josep Riera works in Teatre Lliure with Alex Rigola (Ricard III), in the Sala Becket with Roland Schimmelpfening and he travels as journalist to Berlin and Buenos Aires where he works as journalist for the Magazine Primer Acto Madrid carrying out a theatrical research of these two cities.
The summer of the 2006 restarts the company, this time like one director. With a group of fearless actors and actresses of Catalunya and inspired by the text « Homes i No », of Manuel de Pedrolo, make Cabaret pedrolo (show that, after more than a year of life, it continues in the billboard of Barcelona in Café-Teatre Llantiol). In February of the 2007 they do for the first time Hotel Barcelona, inspired by classic Terra Baixa « Low Land » of Angel Guimerà that has been 7 months in the billboard of Teatreneu and now is in a tour for all Catalunya. The critics and the public from Barcelona don't know how react after watch the resources, the imagination, the productivity, the capacity to improvise and the power of convocation of the company. During the summer 2007 create Aquatic Sardana, show acclaimed by the critic by their innovation and sense of humor when showing the Catalan reality about the climatic change.
Our last creation, PAU? Is the fruit of an intense year of work, a work had thought for nine months, written during three months and rehearsed in five intensive weeks. A more mature and more poetic work but similar of hard and amusing and that at the same time it makes us meditate about the kindness and the human violence that it generates a war.
At the moment (from the month of May of the 2007) we work in an industrial ship recovered in the neighbourhood of Clot-San Martí, l'Espai Navae: a centre of scenic creation and sample of shows open to everybody that needs to develop an artistic project, to impart a workshop, to read a book, to put a song or to expose an idea.
RELATIONSHIP THEATRICAL SPACE CONCEPT. AUDIENCE. WORK OF THE ACTORS
The scenic space
In the shows of La Quadra Magica (LQM) has an special importance the relationship with the space and also the relationship with the spectators. For us the space of the representation goes beyond the denominated scenario and much further on also of the theatre, enclosure or space where it will be carried out the performance. Many of the members of LQM come from the street theatre, performances and the happening. For LQM the scenic space is also the accesses to the place of the representation or the noises that come from the exterior in the moment in which takes place the show. Interpreters and technicians are open to include all these details inside the representation, otherways for us it is not alive theatre, it’s a "representation.".The relationship with the audience goes for the same road. Our spaces of sample of shows are usually no-theatrical small spaces where we have had to adapt the shows to such a close public that it would belong to idiots not to include them and to relate them with the actions that are taking place in front of them. For all this, the scenic space determines the miss in scene and the maquiavelic game of a show that is conceived under the premises of the science theatre - fiction, of past - future and present, of dream and reality
The interpretation
The interpretive work of the actors of LQM points to a mixture among the actoral school of the theatre of the east of Europe, the German school and the Argentinean school, all them under an own vision. The work method is the improvisation through the text and the understanding of the meaning of the work.The naturalism of LQM has surprised for its truthfulness and the radical way of the proposal, creating many times the doubt of if that that happens is prepared or it is in life. Influenced by the German way post-dramatism and for the theatre of images we also work slopes of an interpretive nearer language of the cinema who didn’t pass of the theatre, where the actor stops to be a character to be himself who lives the dramatic situations.
The objects, the space, the sonority, the spectators and the movement complete our search. For LQM the theatre is "a place where, as the life, things pass and if more things happen, better theatre will be." .
Everything inside a contention, of a search, of a position of the conflict and of a resolution intent assaulted by the different actions that they interfere in the plot. Humour, irony, suspense, tension and cynicism are mixed in our work. Performance, happening and ruptures with the extreme theatrics way are also part of our language .
Theatrical Language
In the shows of LQM we want to continue exploring new fields of artistic expression that are not strictly theatrical and that they leave of the conception of the theatrical space as an eclectic land of the arts and the artistic current tendencies that have been developed in different fields of the art and the human expression like the dance, the performance, the street theatre, the video, photography, the circus, the painting, the cinema, the interaction with the spectators, the music and other expression forms.The work of previous text and the dialogue among the playwrights try to support to the interpretive creation of the actors and the scenic, sound and visual proposals that are part of the scenery with such of finding in the text that calls you the anthropology of the drama of the work (Eugenio Barba - Carl George Hegemann).
In this aspect we don't want to sin of transgressors neither of anarchical but we want to became open mind studious people who try to rationalize that the creation process contributes us during the artistic search.
