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COMPANY WORKS

La Mecanica de l'infortuni, 2023

DANCE THEATRE - OBJECTS -INDOOR

Direction, creation & interpretation - Clémentine Telesfort & Lisard Tranis

Original music - Otis Jones
Lighting design - Barnaby Booth & Gabriela Bianchi
Costume design - Anna Solà
Scenography and construction- Josep Pijuan & Benet Joffre Jimenez

External eye - Hansel Nezza 
Philosophical research assessment - Alex Mesa, Doctor in Philosophy


Co-production - Festival Dansa Metropolitana
With the support of - Generalitat de Catalunya - OSIC, Roca Umbert - Fàbrica de les Arts, L'Estruch - Fàbrica de creació de les arts en viu, Graner - Creation center for dance and performing arts, Mercat de les Flors

Show duration - 50 minutes
Audience suitability - all audiences
Stage size - 8x8m min.
Performers - 2
Touring party - 3

Contact and bookings
clementineandlisard@gmail.com

"Falling into misfortune but nevertheless seeing the irony and the humor within it.

Search in the dark. In adverse situations. Invent an alternative. It all depends on the perspective.”
 

The duo of dancers Clémentine Télesfort and Lisard Tranis bring to the stage the expressiveness that emerges from body language and the physical reflexes that come into play when facing adverse circumstances. La Mecànica de l’Infortuni seeks to question the resilience of the human being, and expose which patterns are formed in the body when faced with misfortune.

 

A reflection on the creative capacity of the imagination, in which irony and humor serve as an outlet. This piece of dance, theater and objects, reveals the grotesqueness of being whilst celebrating the beauty that resides in our clumsy mistakes, from where the genuineness of movement and gestures emerges.

 

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Scotoma, 2021

DANCE - THEATRE - PARTNERING - OUTDOOR

Direction, creation & interpretation - Clémentine Telesfort & Lisard Tranis

Original music - Otis Jones
Scenography - Diego Sinniger de Salas

Artistic assessment - Hansel Nezza 


Co-production - Danseu Festival
With the support of - L'Estruch - Fabrica de creació de les arts en viu, Centre Civic Barceloneta, Nunart Guinardo, IAB (Institute of the Arts Barcelona)

 

Show duration - 23 minutes
Audience suitability - all audiences / family
Stage size - 6x6m min.
Performers - 2
Touring party - 2

Contact and bookings
clementineandlisard@gmail.com

You're watching but what do you really see?

Scotoma is a dance theater piece that speaks about attention. An invitation to reflect on what captures and directs it in a world governed by "the economy of attention."

 

Combining dance, theater and objects, the piece reveals sensitive partnering and contact work allowing a poetic imaginary as well as genuine humor to emerge. It's desire is to invite the audience on a journey that asks how to preserve our right to choose to what we give our own attention.

 

Could we perceive what we overlooked or notice what is hidden at first sight?


Scotoma, def. - Area of partial alteration of the field of view that consists of a partially diminished or completely degenerated visual acuity that is surrounded by a normal (or relatively well-preserved) field of view. This is a location without photoreceptor cells. All normal mammalian eyes have a scotoma in their field of vision, usually called a "blind spot."

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SKin on Skin, 2020

DANCE - PARTNERING -SITE SPECIFIC - VIDEO DANCE

Direction, creation & interpretation - Clémentine Telesfort & Lisard Tranis
Camera - Valentine Ezavin
Edition - Clementine Telesfort

With the support of - IAB (Institute of the Arts Barcelona) & Nunart

 

Show duration - Versions of 10' or 15 minutes
Audience suitability - all audiences
Stage size - 6x6m min.
Performers - 2
Touring party - 2

Contact and bookings
clementineandlisard@gmail.com

TRAILER_

Skin on Skin was first created as a video dance work made in collaboration with French film director Valentine Ezavin during the pandemic. Exploring and reflecting around the subject of contact and touch in this context, we felt compeled to create this work which developed into a 15 minutes site specific performance.
Through improvisation, the piece reveals the delicacy and potentiality of touch as a medium for non-verbal communication. 

supported by and thanks to_

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