PREMIATS
INTERNATIONAL APPLAUSE AWARDS

1992 PANEM ET CIRCENSES, for the best stage theatre, participatory, imaginative and provocative.

1992 ARTURO BRACHETTI, for his highly-skilled magic and transformation technique, comparable to the great masters of all times.
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1992 MOSCOW CIRCUS, for taking the genre of circus and adding to it art, difficulty and dexterity in whatever is “most difficult”, to create a new poetics of the circus.
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1993 LOS SNACS, for their ingenuity in combining music, comedy and performance to create a theatrical cocktail that is fresh and direct, connecting intelligently with the audience, and making them smile.

1994 MOMIX, the show Passion, for its intelligent combination of art and physical dexterity, with hints of Miró.
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1996 ENNIO MARCHETTO, for the innovative nature of his impersonations and his original paper costumes.
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1997 COMPANYIA PHILIPPE GENTY, for the show Voyageur immobil, in which for an hour and a half they masterfully combined mime, pantomime, dance, puppets and theatrical effects, recreating certain spaces – the sea and the desert – and creating other imaginary ones. The result was a theatrical poem with great emotional impact, one of the best seen in the city in recent years.
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1998 LEO BASSI, for his show Instintos Ocultos. This show, performed at the Teatre de l’Eixample, flowed out of the theatre and into the street, while Bassi, overflowing with genres, became a clown, a juggler, a magician, a cabaret comedian, a mime, a medium in a show that was simply overflowing.
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1999 QUE-CIR-QUE, and we were moved by the precise body that played with a mop and which reflected the feelings of all the paradoxes in a world that was much more aggressive, wrapping it up and distancing it from its own desires. What a delight of smooth perfection.
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2000 LE PETIT BAZAR ÉROTIK, A PRODUCTION BY TOF THÉÂTRE WITH LA BALESTRA, THÉÂTRE MANARF, LE THÉATRE DE CUISINE, LES PETITS MIRACLES, VÉLO THÉÂTRE, GREEN GINGER AND PICKLED IMAGE, LAIKA AND TURAK THÉÂTRE. The closing piece in the 15th Festival of Visual Theatre and Puppetry of Barcelona featured this multiple offering based around eroticism, which played with different spaces, food, drink, sensual sofas, a bed with a bedcover made of nipples, head massages, puppets, sand and so on. All the numbers were remarkable for their exquisite manipulation of objects and their tiny sets. Or others for their extravagance, and all of them, without exception, for the great sense of humour with which they told their stories. A bazaar of plenty and of provocation.

2001 ROJO TANGO, DE CECILIA ROSSETO. Come as often as you can. Stay. Speak or sing, so that your country and the world you know will enter our hearts. It seems so much like Argentina! From its anger to its humour. From its calm to its passion. How well you tell us what you tell us.
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2003 ENRIQUE VARGAS AND EL TEATRO DE LOS SENTIDOS, coming from Colombia with a new theatrical language that comes alive in the pieces El laberinto de Ariadna and La memoria del vino, awakening individual emotions. With the Applause award we take this opportunity to celebrate the fact that Barcelona welcomes them at El Polvorí, where they will create a centre for investigation and documentation of the poetics of the senses.
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2006 NADA EN LOS BOLSILLOS by Romanian Circus Tsigane, Alexandre Romanès's circus returned to Barcelona in 2006. Located between MACBA and the CCCB, close to FAD, it demonstrated the unchanging values of circus when performed with care and dedication, whether on the tight-rope, the trapeze or juggling.
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2010  KO MUROBUSHI, For Western viewers, the Japanese Butoh dance can be placed halfway between two slightly different traditions: has the re-concentration of German Expressionism and shows the open sore of the flamenco’s seguiriya. Gasch felt far from the most land side of German Expressionism, but greatly appreciated the strength of a flamenco gesture made of deeply felt scores of meat in real contact with the artist’s “me” and with life. It is for this reason that this year we believe that, for the full leadership of a body which grows in the littleness of his humility and for the sobriety of the setting, Ko Murobushi is the master butoh of international acclaim Dead 1 and Quick silver, two proposals scheduled at the Barcelona Grec Festival 2010.

2011  CAMILLE BOITEL, At l’Immediat, Camille Boitel uses a mountain of garbage to show us a fragile and chaotic world. Like in a silent movie, the characters reveal a society in ruins and uncertain balance. We reward the ingenuity to create a world that defies gravity making use of the language of circus, dance, music and theater. Boitel manages to transform a pile of junk into a work of great visual beauty.

2013 PRESS. We give this applause to Pierre Rigal's Press show for the magical illusion which with the conceptual rigor, the body control and the precision of movements turn thearical craftsmanship into prodigy. Press is much more technical than technological: rhythmic and light seduction without borders, with the interpreter confined in an enclosed space, square, claustrophobic and heavy.

2014 AURÉLIEN BORY For the show Plexus, where nothing runs separately, everything is perfectly interlaced. He uses technology as a tool and gets as exciting as puzzling images. Plexus is a portrait of the soul and body intertwined in a tempest. Aurélien Bory, a magician of the scene.

2015 SADARI MOVEMENT LABORATORY For transforming the montage of Jean Genet’s The Maids into an impressive example of physical theatre and new theatrical languages where fantasy and experimentation splendidly play with movement, with the object, the projections and the sound. An innovative, entertaining and fascinating spectacle.

2016 LE VIDE For a work of monumental simplicity, Le Vide, which shows us that absurdity is able to go further than reason, and that the effort may be futile and, yet, lead us to happiness.


Sebastià Gasch FAD Awards Of Paratheatrical Arts