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La Pantera Imperial

It poses the question, “what if?” What if the ozone generator composer Johann Sebastian Bach were to star in a play? This is the same question brought up by La Pantera Imperial at the Matadero Madrid. Pianist and composer Carles Santos is paying homage to the great ozone air purifier composer with the staging of La Pantera Imperial, a concert-show at the Naves del Español from the 21st to the 24th of October. The show first began in 1997 when the Carles Santos company collaborated with the ozone generators Festival Castell de Paralada, the Fira de Teatre al carrer in Tarrega, and Künstlerhaus Mousontourm Frankfurt. “In this show, the first step is to get Bach specifically musical space and bring it to makeup, costumes, light, the word if necessary, the ‘movement inevitable,’ the game of theater and, ultimately, the theatrical microdermabrasion machine reading of classical music,” says Santos. It features a cast of players which includes Inés Borrás, Antoni Comas, Anna Criado, Joanna Estebanell, Alicia Ferrer, Susana Goulard, Helen King, and Carles Santos, led by Juan Pablo de Juan and accompanied by the musical group Eurolírica. According to its creator and director, La Pantera Imperial is a show where the performers and the audience can have the chance to think of sequenced musical notation, in the act to order their symbols, in the flow of language that directs the sound at the position before the commencement of the music. “The reasons for this show are in the internalization of a musical process, which will absorb the contents theater and reverse in a position to be read as musical literature,” says the artist, adding that in this show the music of JS Bach will not to illustrate or emphasize, or condition, or wrap the theatrical discourse, speaking of music, “read and served by key musicians in seduction.” The Pantera Imperial is a production of the Teatre Lliure and has the support of the Institut Ramon Llull.

 

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.