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"At the service of children surprise"
Jordi Bordes Review - (15.11.2017)

Montse Roig and Joan Casas have managed to make emerge a fragile and tender world from the choreographer´s visits to the nursery schools. She has researched, played and dared to transform into one more child in the classroom. With a music that perfectly complements a situation, circumstantially (the piece evolves from each surprise that appears in the scenic space), small games are very effective with minimal elements. …/… the connection with the scoundrel is continuous because images are suggestive and magical (despite their technical simplicity) and because the look is always towards the children. The work ends with a party, distributing colored hearts and throwing them on the fly as if they were tender autumn leaves. A simple but effective game, suggestive, that keeps the curiosity and that it redeems when finally it is acceded to the scene. And yes, it is also danced on the sits, innocently, especially as a result of the rain of hearts, in line with the artist.

Núria Cañamares Review - (24.11.17)

The show is carefully designed to seduce the audience between 2 and 5 years old and, at the same time, provide a wonderful time for adults who have taken them to the theater. It is about living a shared experience, participating together and in society in an artistic act full of emotion that, although perhaps it is not "the first time", gets very close to it.

Now a moon appears, there is a rain of stars or clouds flying. Now they enter into a cave accompanied by the echo or see how the dancer lives in a music box . With images, lights and melodies, they give them a continuity of pure, soft, beautiful, soft scenes, where children, through the eyes, body and soul of the protagonist, awaken their senses and, above all, their emotions and bond with the performing arts. Barefoot, curious, playful and dressed in white with a boot that reminds the baby diaper, the analogy is obvious. She is the one who moves to the scene between a suggestive stage scene, but everyone can see themselves experimenting in their place. The little ones react openly to the

Barefoot, curious, playful and dressed in white with a boot that reminds the baby diaper, the analogy is obvious. She is the one who moves to the scene between a suggestive stage scene, but everyone can see themselves experimenting in their place. The little ones react openly to the stimuli and let out cries of joy or babbles that confirm that they are participants in the discovery. And the most fundamental: they enjoy it.  In general, the show contains the communication with the public in the role of active receptors except for two moments when the interaction is intentionally explicit and, despite the remarkable change of registration, it occurs naturally. A controlled distension that children receive with fun and that has just come close to this dream universe that will finally be displayed in the real world in an invitation to the game and to the party that rounds the experience.

Ara apareix una lluna, hi ha una pluja d’estels o voleien uns núvols. Ara entren a dins d’una cova acompanyats de l’eco o veuen com pren vida la ballarina d’una caixeta de música. Amb imatges, llums i melodies els regalen una continuïtat d’escenes pures, toves, belles, suaus, on a través dels ulls, el cos i l’ànima de la protagonista els infants desperten els seus sentits i, sobretot, les seves emocions i vincle amb les arts escèniques.

Descalça, curiosa, juganera i vestida de blanc amb una calça que recorda el bolquer dels nadons, l’analogia és evident. Ella és qui es mou a escena entre una suggeridora escenografia, però tothom pot veure-s’hi a si mateix experimentant al seu lloc. Els petits reaccionen obertament als estímuls i deixen escapar crits de joia o balbuceigs que confirmen que són partícips de la descoberta. I el més fonamental: que en gaudeixen.
En general, l’espectacle conté la comunicació amb el públic en el rol de receptors actius tret de dos moments en què la interacció és volgudament explícita i, tot i el notable canvi de registre, es produeix de manera natural. Una distensió controlada que els menuts reben amb diversió i que acaba d’aproximar-los a aquest univers oníric que, finalment, es desplegarà al món real en una invitació al joc i a la festa que arrodoneix la vivència. 

Interview with Núria Parera
El Culturista (23.10.2017)

The company Blink Flash was born with the aim of bringing the world of dance and theater closer to the youngest. This year they are premiered at the "El Petit Petit de Tots" festival with a show that is based on the intense life of Isadora Duncan. Montse Roig (creator and interpreter), Marina Cardona (choreographer) and Joan Casas (playwright) have experimented with children of twelve kindergartens before giving the jump on stage, and the result is a small jewel that explores the most basic emotions of being human ... / ... 

How does a biography become a show for young children?  

Joan: We transformed the biography of Isadora into an emotional biography. We made a compilation of the different emotions that he lived and then we made a choice. The background are basic emotions that everyone lives at one time or another. For this reason it is easy to identify with itMontse: Yes, we talk about fear, discomfort, anger, impost, rejection, loss of children, sadness ... We explain of Isadora´s life through the emotions she lived. And we related each of them it to an object and music. Music helps me to create the movement, and objects help children, since they need something palpable they can touch.  Joan: We also play with the colours. Montse begins dressed in white and stains the costume as she lives the different situations , it is a very visual game that gets the audience. 


Have you done a previous research work that has been useful to create the show?  Marina: yes, from the Mercat de Les Flors, laboratories are made in the nurseries to work emotions through theater and dance. We go to the classrooms and do exercises to educate the children in this field and also to give creative tools to educators. The second part of the laboratory is to bring these children to the theater, to see the work.  ... /... How do children react in the classroom?  Marina: things happen like an educator asks you, uncertain: "can I take off my shoes?" We respond of course! that they are to feel free to do whatever they feel, as if they want to turn or jump. Montse: with the Mercat de Les Flors educational projec, we give tools to educators so that they can connect with children from the body and not just through words. For example, if you want them to roll on the floor, it is best to do it than you not moving saying "now roll on the ground." 

Marina: exactly, emotions are experienced physically and more so at early ages. Non-verbal communication is very important.

Joan: from a certain age, 5 or 6 years old, emotions are crystallized and the child starts repeating the patterns it has learnt. The work that can be done at this early ages is very profound. They are very important years in the development of a person.


And to end… What did you want to be when you were kids?

Montse: A skater or a judge.

Marina: A vet or a dancer.

Joan: space ship mechanic, I imagined myself as some mechanic-astronaut that fixed spaceships.

© 2018
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+34 609 929 062 (Montse)
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