My stay with them 1996-2001
© MomaTeatre WEB
NASCUTS CULPABLES
VARIETÉS A LA CUINA
NATURALESA I PROPÒSIT DE L’UNIVERS
CÀNDID
..among other shows, presentations, radio, interviews, television and different theatre and dance companies that went through the Espai Moma
Christopher Durang
Carles Alfaro
Paco Zarzoso
Voltaire
..and many more writers
Espai Moma we were:
Directions and Dramaturgy: Joaquim Candeiras, Carles Alfaro, Cristina Plazas, Rafa Calatayud
Assistant Director: Ferran Catalán, Carlos Calvo, Isabel Rocatti
Stages: Carles Alfaro, Jaume Policarpo
Dress room and Costume Costumes and props: Joan Miquel Reig, Doblete, Marta Villazón, Julià Colomer, Toni Langa y Goretti Puente
Characterization:
Carlos Montosa y Eva Fernández
Musics: Joan Cerveró
Making scenery: Taller de Encarnita
Atrezzos: Francisco Cardeña
Choreography: Rosa Ribes
Head coach: Joan Falcó
Technical coordinator: Toni Sancho
Lighting technician: Edu Bolinches, Melania Rodriguez
Sound technician: Jordi Devis, Xavier Morell
Machinist: Eduard Aznar, Miguel Enamorado
Councillors: Josep Calatayud, Carmen Sanchis, Pepa Llobet
Assistants Espai: Palmira Gómez
Photography: Jordi Pla, Vicente A. Jiménez, Ros Ribas
Distribution: Empar Pla
Promotion: Eva Contreras, Bárbara Lefèvre, Josep Domenech y Toni Benavent
Production assistants: María José Peréz, Iolanda Garcia, Patricia Ferrer, Isabel Tejedor
Executive producers: Joan Carles Dauder, Iolanda García, Quim Masó
Wonderful actors I worked with:
CAST
Pep Ricart (gracies Peep!)
Esther Bosque
Victoria Salvador / Pilar Almería
Cristina García
Joan Miquel Reig
Martín Casas
Álvaro Bàguena
Helena Peydró
Cristina Plazas
Empar Canet
Carles Alfaro / Sergio Caballero
Juan Peiró
Anamar
Vicente Piquer
Julián Lorente
Victoria Pastrana
Gregorio Martínez
Rafael Barry
Tony Hadell
Teresa Lozano
Jordi Dauder
Manuel Puchades
Salomón Sanjuan
Mamen García
Domingo Chinchilla
Sergio Caballero
Jerónimo Cornelles
Empar Canet
Juli Cantó / Nacho Fresneda
Cristina Cervià
Ferran Madico
Carlos Martínez
Xicu Misó
Montse Medios
Carmen Parés
Victor Pi
Awards we win:
Awards of Teatres de la Generalitat Valenciana: For Best Performance; Best Actress, Cristina García; Best Director Carles Alfaro and Joaquim Candeias. . 2001
MAX Award for the Performing Arts. «Revelation Show». 2001
Critics’ Prize for the best show. 2000
Critics’ Prize for «L’Avenç» of BARCELONA, CULTURE. 2000
Award For Best Performance; Award For Best Direction Of Teatres De La Generalitat Valenciana. 1996
National Award For Musical Composition Of Theater Of Joan Cerveró Sociedad General De Autores (Sgae) 1996
Best Actress Award For Mamen García Premis De Teatres De La Generalitat Valenciana. 1999
Marqués de Bradomín Award 1996
Award For Best Text Paco Zarzoso; Best Actor, Rafa Calatayud; Best Lighting, Carles Alfaro; Best Show Of Awards For Teatres De La Generalitat Valenciana. 1998
Critics’ Award For The Actress Isabel Rocatti. 1998
Award Al Mejor Espectáculo; Premio A La Mejor Dirección De Teatres De La Generalitat Valenciana. 1996
National Musical Composition Award for Theater to Joan Cerveró from Sociedad General De Autores (Sgae) 1996
Award Cartelera Levante: «Al Mérito Propio», Sala Espai Moma
Award Cap I Casal (Bloc) Espai Moma and Moma Teatre
Award «El Ojo Crítico» from RNE for Espai Moma and Moma Teatre Trajectory Award.
MOMA TEATRE Special Trajectory Award (20 years)
PREMIO MAX 2001 Espectáculo Revelación
Critical reviews:
Moma team they are accustomed to us to surprise even the most difficult. In this new opportunity risk and daring are motivated by wanting to raise a show that is at the limits of theatrical fiction to place ourselves in those border areas as suggestive and clarifiers.
The writer Michelet wrote that Candide was an orgy of imagination. And «Candide» by Espai Moma it is also: vibrant, witty, fun. A spill of ideas and, of course, subversive.
«In Nature and purpose of the universe, by Christopher Durang, Rafael Calatayud was responsible for the staging of this cruel satire of the myth of the happy American family. The assembly was allowed to check the versatility of Moma Space stage. A risky proposal to which the audience ranged from laughter and distress.»
Alfaro describes his experience with these artists as a «great discovery»: «I have proven to be of great professionalism. Dare everything. They are a dying breed, variety artists removed the stigma of calling. I am convinced that we will not find people like that in the theater.»
The history:
Moma Teatre is a theater company founded in Valencia in 1982 by its current artistic director Carles Alfaro: trained as an actor in Valencia, Madrid, Oslo, London, New York …; Graduated in management from the British Theater Stage Directors Association in London. Also, literary manager, set designer and highlighter.
Since its inception, the company has submitted, to the very day, more than 30 performances; Alfaro mostly led by himself. The productions of the company are conducted in Valencian except those that are based on texts originally in Spanish; such as the last show «José K, torturado» (Jose K, tortured), dramaturgy on texts by journalist Javier Ortiz. Valencian productions, also performed in Spanish when following the spin state.
The activity of the company is governed by a public theater unequivocally calling from the private sector. That is a commitment to rigor both in the choice of texts addressing the treatment as the word interpretation. Its uniqueness does not collect in an election determined on a repertoire particular, whether classical or contemporary, but in treating dramatic («here and now») on projects, whether its origin textual theater or not, whether their own or culminating in explorations into genres such as theater-documented. Always in search of their own language in order to discuss the issues and concerns of mankind today. All this in a progressive attention to the word being both inspirational drama acting shaft ethical as aesthetic.
Moma Teatre began its history in 1982 with the initiative of Carles Alfaro (Valencia, 1960) of an approach to the theater from exploration, closer to contemporary European tradition; a way that members of the «independent theater» that moment had not had the chance to live. However, the first assembly of this group, initially called the Moma – Valencia folk dance in which eight dancers represent the struggle between virtue (the Moma) and the seven deadly sins or vices (the Momos) – was «The Knack» by Ann Jellicoe, a symbolic work of the youth of the sixties, led by Argentine Martin Adjemián. In 1983, following the assembly, «The Imaginary Invalid» adapts a classic Molière, and Alfaro assumes, for the first time, the staging of the show. After this assembly, Alfaro decided to move to London to continue forming himself and it is in 1984 when he was graduated as a stage director for the British Theater Association. The first work was released after his return from London was «The dumb waiter» in 1985, by Harold Pinter, one of the authors of reference and later revisited in Moma assemblies with different actors.
The search for her, own space, formed from the origin of the needs of the company: First Laboratory Moma; an old farmhouse in the middle garden. At a later stage materialized in the creation of publicly room Atelier Moma, a center of theatrical creation to a ship on the street Padre Rico Valencia. His first experience with this approach to «workshop», said «Sky, there are all vineyards!», released in 1988, free version Ghelderode texts. That practice drew attention in certain sectors, they discovered a strong point in the landscape as it was the Valencian theater at this time, lacking established realities. After this work, was released on an exploration own childhood, «Inèrcia» (Inertia) in 1989; and innovative collective creation about voyerisme of loneliness in a community of neighbors, «Basted» in 1990. He surprised his theatrical style from a poetic surrealism developed conjugated where different languages: cinematic, choreographic, score scenic and plastic. It was the first recognition beyond our city to be selected for Expo 92 in Seville.
In the 90s, in 1992, he released «El caso Woyzeck» (The case Woyzeck), which marked a turning point in the history of Moma, and on more than one concept stage expressionist elements joined the company seal: arts, drama, etc. It marked the first recognition both nationally and internationally being selected in Tarrega Festival and the Festival Firenze in Italy. And the first long tour company and extensive touring major cities of the state. Also awarded the 1993 ADE Prize (Association of Directors of Scene) by «El caso Woyzeck» (The case Woyzeck).
It starts to configure the true hallmark of the company: open but selective repertoire since that occurs as contemporary or classic texts themselves; being their true uniqueness dramatic treatment in search of his contemporary exerted on the materials chosen text; their nature they are classic, contemporary or own.
The company is committed to the Valencian contemporary playwrights of his generation «Metro» (Underground) (1993) by Paco Sanguino and Rafael González; «Urinario» (Urinary) (1996) by Paco Sanguino; and «Umbral» (The Other) (1997) by Paco Zarzoso. Other productions at this stage are collaborating with the company in the Valencian writer Manuel Vicent will charge a project like «Borja-Borgia» (1995 coproduction with the Centre Dramàtic de Catalunya) and the suggestive «Cándido» (Candide) (1995 coproduction with Talleret de Salt of Girona in Spanish and released in the Teatro de la Comedia in programming Marsillach as director of the CIA. Nacional de Teatro Clásico), from the classic by Voltaire. Our most extensive work, a three-hour show, after more than four months of tests in Girona… Also became opening new horizons of complicity, residencies…
After years of multiple tours, the company feels the need to share with Valencia certain maturity and realize their ancestral need to establish a direct relationship with the public and establish a research center where stable generating projects.
In 1994 it will become real, the new Moma Teatre local at Argenter Suárez’s Street: ESPAI MOMA. And in 1998 when, finally, the hall opens its doors permanently. Begins a period of intense production and exhibition for the next five seasons until 2003.
In the first season 1998/99 production recovers «Cándido» (Candide) and unfortunately could not be seen in Valencia at the time. It is done «Varietés a la cuina» (Varietes in the kitchen), a tribute to the genre of the magazine (in Valencia, in the days of the Republic, there were more than 30 local varieties) with a recovery work of eight artists (rhapsody, star, chanssonier couple comics, dancer, pianist, coplista …), the 50, 60, 70 … (the mean ¡troupe was 75 years !; chanssonier being 92 years…) a drama based on a casting more than 30 artists and over 65 interviews, recordings…
Since 2000, we find impressive interviews «Nacidos culpables» (Guilty Born), a major step forward in the recognition state Moma Teatre. Based on actual interviews, conducted by journalist Peter Shirovsky Jewish, children, grandchildren, descendants of Nazis who participated in one way or another in the genocide in Nazi concentration camps. Witnesses who, until the day today, suffer the consequences of «this anonymous history.» Undoubtedly, the realization of the increasing interest of the company. Theater for Documenta. The show was recognized with the 2001 PREMIO MAX «Espectáculo Revelación».
The following year, 2001, while we premiered the «incendiary metaphor terrorist» in «Incendiaris» (Incendiaries) by Max Frisch, witnessing the collapse of the Twin Towers in New York…
«La Caída» (The Fall) also in 2001, dramatized by Rodolf Sirera and Carles Alfaro on the text of Albert Camus. Co-production with the Teatre Nacional de Catalunya was another turning point, it was the first show at the Teatre Nacional in Barcelona to enjoy a replacement next season due to the success of public and critics. Also recognized with the 2003 PREMIO MAX for «La Caída» (The Fall) Finalist 2003 PREMIO MAX Director for «La Caída» (The Fall) and 2003 PREMIO MAX Finalist Lighting «La Caída» (The Fall).
In the 2002-2003 season, Moma Teatre presented the Pinter program. A tribute to an author key to understanding the desire on the part of the company’s dramatic rigor pursued since its inception. Collect this tax works «Noche» (Night), «Monólogo» (Monologue), «La colección» (The Collection), «Una Alaska particular» (A particular Alaska), «Estación Victoria» (Victoria Station), «La penúltima copa» (The penultimate cup) and «Celebración» (Celebration).
Also, in that same season, closed the parable about the human jungle of the great metropolis with «Les llums» (Lights) by Howard Korda.
After long disputes in time with the Public Administration that prevented the growth of Moma space for coherence and critical level of demand both ethical as aesthetic, the company decided to «resign»: closing ESPAI MOMA.
This, of course, natural, caused a break of reflection and restructuring that was interrupted occasionally in 2007, at the invitation and request of the Festival Temporada Alta of Girona which was released drama poetic about the Rwandan genocide «Qué pasó, Wanoulelé?» (What happened, Wanoulelé?) by L. Nabulsi.
It was not until the year 2016, the company restarted its journey from its original precepts themselves, an old desire came true with «Vania» (2016), an approach essentialized of the classic by Anton Chekhov. A coproduction with Teatros del Canal in Madrid, visiting the capitals of the new state and collecting awards and widely accepted in Madrid and Valencia, Barcelona, Girona Festival Temporada Alta…
In 2017, coinciding with the 35 year history of the company, we adapted a more universal texts represented a new essentialisation, this time the classic Calderon de la Barca’s, «La vida es sueño [vv. 105-106]» (Life is a dream [vv. 105-106]). A new co-production with Teatros del Canal in Madrid, returning to receive wide acceptance both in Madrid and in Almagro, Bilbao, Sevilla …
Echoing the spirit of digging on gender theater documented, the CIA. presents «José K, torturado» (Jose K, tortured) in 2018 on texts by journalist Javier Ortiz. The result is a soliloquy on torture and morality, with multiple readings, focusing on the character of the terrorist José K.
Many of the texts below have been possible thanks to the book MOMA TEATRE 1982-2002 VINT ANYS DE COHERÈNCIA. Editing Josep Lluis Sirera. Ed. Bromera. 2003.
Thanks a lot, for ever in my live.
Edu Bolinches
