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In these months, for various reasons, suicide and everything that surrounds it has received the attention that we demanded when we began to create this project before the pandemic. So we felt the need to bring to light a reality that had been silenced. We want, from the creation of a stage act, to reflect, feel and even suffer the universe that surrounds the need of a human being to stop being.
We do not want to make value judgments, the focus is that it is a reality as old as the human being, that it accompanies us and deserves our attention and care.
What you do not see does not exist and Precipitados is our way of giving voice to each and every one of those souls and putting us, The Society, in that place of not seeing and thus making certain things not exist. Precipitados is a stage act that seeks to give visibility to the reasons, the desires, the questions and above all to the people who let themselves go.
As a stage act is finite, so are we...
A choreography decides where their movement ends, each and every one of those who "rush" decides how, where and when... but are they all free in their decision?
Precipitados shares us from the visual, sound, light, body and word dramaturgy, a universe of characters who share a face-to-face conversation with death, absence, pain, impotence, exhaustion, but also with the tranquility and peace that means letting go.


Stage act created for all audiences that immerses us in the world of Vivaldi
"Vivo Vivaldi is a scenic journey in which we meet
9 characters that transit from darkness to light. From fantasy to the earthly. Vivo Vivaldi is the resignification of the artificial in nature. Vivo Vivaldi is sailing, it is playing with the monster in the closet, discovering first love, being a flock of starlings… Alive Vivaldi is a summer storm in a box at the Venice Opera, it is an invented dance between bustles and graffiti. Vivo Vivaldi you feel, you live, you dance, you share and you navigate through fabrics, bodies , the light, the musical notes, the emotions. I live Vivaldi it is playing, it is dreaming. It is the search for a particular way that allows us to write the trip, a trip that at times is real and others is a dream".



Gala Éluard Dali was not only muse and woman, lover and beloved. She was an intelligent, creative, enterprising woman.
Was Gala entering into discussion with them putting her imaginary at the service?
If Gala decides the position and design of her portraits, isn't Gala the performer who created these paintings?


Stage act that reflects on inspiration.
The body as a vehicle for the experiences that make the performers the protagonists of a constructed, learned and inhabited dramaturgy. Can inspiration be provoked? 

The muses are that flash that illuminates the darkness, a spiritual connection where free meditation takes shape and answers questions that perhaps I'm not even asking myself. 

The flash appears in a moment, it is fleeting, ephemeral and can be confused if we are not attentive.
Energy flows through us, we are the ones who have to be attentive and give shape. 

Do and not talk about doing. 

Inspiration, creation, love, life need time, they are time. 



Our intrusion into the plastic world of "others" exhibited in Museums and Galleries, architectures outside the stage space...

The strength of an image and the amount of meaning we put into it...we cannot dance apart from everything that surrounds us. We do not understand it as a way of bringing dance closer to unconventional spaces, but as another shared expression of the same inspiration. In opposition to the tangible and enduring of the plastic arts in which we are inspired, the sketches that we propose are based on the ephemeral nature of a gesture, a movement, which, although fixed or even choreographed, has a beginning, an end, IS and it ceases to BE almost at the same time. The brushstrokes, the chisels, the papers, the textures, the color, the negatives move us… the muses that one day were and that today are again, in another way and always with a depth. I respect.

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