“Som un col·lectiu format per l’Anna Rubirola, la Cecilia Colacrai i la Mireia de Querol. Treballem juntes perquè creiem en el potencial del pensament col·lectiu i ens interessa generar un llenguatge propi que resulti d’una visió múltiple i complexa de la realitat. Entenem l’escena com un terreny que ens permet desplegar el nostre imaginari, l’humor, l’error, el pensament crític, i el potencial evocador del llenguatge del cos.”



By Tanya Beyeler

The colonialist threat, the one presented by the intrusion of “the other” into a certain territory, has always been a major concern of human societies. Even more so, in the case of an alleged invasion by a part of civilisation that is not only unknown, but coming from a different world. With the technological advances, the threat coming from outer space has become an almost tangible and more than possible situation in the future, which has lead to creation of a great variety of graphic and literary materials, installed in the collective imaginary.

The word OVNI (Spanish for UFO) alludes to the archetype of this threat presented by the alien invasion and the title of this piece uses the image of fleeting and strange apparition of an unknown body coming from outer space in order to activate a visual semiotics around the objects on stage.

The provocation is manifested in the dichotomy between the exceptional imaginary, suggested by the title of the piece, and the elements that are presented on stage through the process of accumulation. These elements make up a repertory of small, everyday objects that are predictable, banal and with little value, designed to stop working due to the planned obsolescence.

The objects that are produced on a large scale everywhere in the world, day after day, and compose the visual landscape of towns and cities where a large majority of individuals on this planet live. A planet, ours, occupied by a vast tribe of vibrating, noisy, inanimate bodies without a sole, made of plastic, synthetic fibres, latex, aluminium, led and other metal and chemical compounds that will, paradoxically, need much more time to disappear from this planet than the bodies (and names) of their creators.

Objects, understood as tools, have been refining over time and increasing in quantity and variety and, in theory, have been designed to serve us and make our life easier. But if in the beginning the tolls were designed as an extension of the hand, the technical evolution has now given them a place in the category of fundamental objects, and in some cases even of worship. They have, just like golden calves, left the territory of the merely utilitarian in order to occupy the world of ideas and thus become abstract images that seduce us with their speculation. Under these assumptions of a material delirium, OVNI can be perceived as a dance piece that questions the place of the body and its utility as an organic machine, a sensitive structure for interaction with the environment and a degradable material that accompanies us from birth to death.

The work begins with setting in motion of an almost promotional dramatic and photographic device, composed of visual associations between objects and their functional relationship with the human body. This link between the person and the object is quickly transformed in order to start a more confusing and intense story that fluctuates between the symbiosis and confrontation of bodies of different nature. The stage, initially conceived under a expository logic, soon becomes a battlefield in which debris, convulsive movements, words and incomplete residual gestures are being accumulated: scattered remains of something that used to be a whole, now thrown into a vacuum, abducted and doomed to exist in the search of a new reason for existence.

The mystery that OVNI reveals does not so much reside in the utility of the objects as necessary or not, but in their overproduction; this unstoppable and unleashed machinery that keeps on spitting out devices and gadgets and that in its desire to occupy our living space suffocates all the natural traces of our existence like a devastating wave.


Direction: Big Bouncers Collective (Cecilia Colacrai, Mireia de Querol and Anna Rubirola).
Creation and performance: Cecilia Colacrai, Mireia de Querol, Anna Rubirola, Ursa Sekirnic.
Light design: Joana Serra
Artistic collaboration: Tanya Beyeler
Objects and set design: Maria Alejandre
Costume design: Jorge Dutor
Audio: Pablo Mo Ramírez
Text: Big Bouncers Collective and Tanya Beyeler
Voice over: Tanya Beyeler
Video and photo: Tristán Pérez Martín
Production: Anna Bohigas
Coproduction: Festival Simògraf, Graner-Mercat de les Flors and Antic Teatre
With the suport of: La Visiva, El Graner, ‘Residenze creative Lavanderia a Vappore’
Sharing&Moving/International Residencies, Festival Interplay, La Caldera, L’Estruch, L’Animal a l’Esquena, Festival Grec.
Thanks to: Sergio Roca, Iris Heitzinger


On Friday 9th there will be an informal discussion with the audience after the show (moderated by Agost Produccions).