{"id":21577,"date":"2024-07-01T09:36:40","date_gmt":"2024-07-01T07:36:40","guid":{"rendered":"https:\/\/dianagadish.com\/espectacles\/"},"modified":"2025-09-17T17:53:16","modified_gmt":"2025-09-17T15:53:16","slug":"shows","status":"publish","type":"page","link":"https:\/\/dianagadish.com\/en\/shows\/","title":{"rendered":"Shows"},"content":{"rendered":"\t\t
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CRUUU<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\n\t\t\t
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\n\t\t\t\t\t\t\tCRUUU\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\tBetween pure idiocy and the mystical search for identity\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t+ info\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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HANDLE WITH CARE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\n\t\t\t
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\n\t\t\t\t\t\t\tHANDLE WITH CARE\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\tBoxes that open a shared space\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t+ info\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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LUCY LIVE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\n\t\t\t
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\n\t\t\t\t\t\t\tLUCY LIVE\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\tAn elegantly precarious being\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t+ info\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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SHORTS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\n\t\t\t
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\n\t\t\t\t\t\t\tSHORTS\t\t\t\t\t\t<\/h3>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\tVisual and absurd humor\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t+ info\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Archive<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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REQUIEM FOR A LANDSCAPE<\/h3>

Requiem for\u00a0a landscape<\/i>\u00a0is a resulting performance from a\u00a0research on body, movement and presence, generating a performative practice on body memory, especially in relation to the territory and death.<\/b> Addressing not only the personal memory, but also all the inherited and collective memory. It is a proposal of immersion, reaching depths where fiction and reality are no longer discernible. From the exposed body, it looks for an access to\u00a0the denied collective memory,\u00a0the collective subconscious that has been buried. A memory that connects with the cruelty and violence of the human being, and that does so from pain and pleasure, from destruction and from the primary longing for life.<\/p>

The piece is conceived as a fluctuating landscape that gradually leads the viewer towards a contemplative gaze, inviting her\/him\u00a0to an intimate state of personal\u00a0reflection.\u00a0<\/p>

\u00a0<\/p>

Concept\u00a0and\u00a0creation:<\/strong>\u00a0Diana Gadish<\/p>

Performance:<\/strong> Esther Freixa and\u00a0Diana Gadish.<\/p>

Advise:<\/strong> Toni Cots<\/p>

Light design:<\/strong> Daniel Miracle<\/p>

With the support of:<\/strong> La Caldera, Festival Citemor (Montemor-o-Velho); CRA\u2019P, F\u00e0brica de les Arts Roca Umbert and Fundaci\u00f3 la Plana.\u00a0\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\tV\u00cdDEO<\/a>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\"\"<\/div><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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GENESIS JOPLIN<\/h3>

Eve was expelled from the Garden of Eden after she ate from the forbidden apple. Since then her\u00a0erratic soul is still present in people lives on the earth.<\/p>

This is the story of her descendents: a singer, a French bohemian woman, a general, a witch, a politician and Janis Joplin. All of them have a common destiny marked by temptation, desire and rebellion.<\/p>

Diana\u2019s Gadish background in contemporary dance and choreography is visible in her clown.<\/p>

The spectator is plunged into a world of emotions and sensations. A tale of womanhood is explained through the expressions and movements of the characters.<\/p>

Genesis Joplin presents a singular humor, entertaining, disconcerting and poetic.<\/p>

Creation and performance:<\/strong> Diana Gadish<\/p>

Direction:<\/strong> Jango Edwards<\/p>

Language:<\/strong> Gestual -con intervenciones en castellano e ingl\u00e9s-.<\/p>

Duration:<\/strong> 60 min.<\/p>

Creation year:<\/strong> 2010<\/p>

With the support of:<\/strong> ALMAZEN, LA SERRADORA<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\"\"<\/div><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t
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HICCUP FOR HOME<\/h3>

A body is looking\u00a0repeatedly and unsuccessfully\u00a0for a place to belong and a structure in which it can feel safe.<\/p>

This time, the architecture of the theatre is used in an unusual way. The performer moves on and off the stage, appearing and disappearing. Thus, the theatre becomes a window that allows the viewer to see only snippets of the work.<\/p>

On one hand it emphasizes the real space, the architecture of the theatre, and at the same time, using the elements provided by this same architecture, it hints at a fictional universe.<\/p>

With a very unique body language and unusual staging, here we face the question of how cultural mechanisms respond to the need to cling to structures and identities, and at the same time, our inability to maintain them.<\/p>

Creation and performance:<\/strong> Diana Gadish<\/p>

Artistic advise:<\/strong> Igor Dobricic, Eileen Standley<\/p>

Duration:<\/strong> 25 min.<\/p>

Creation year:<\/strong> 2006<\/p>

Coproduction:<\/strong> AHK, MUIDERPOORT THEATER<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t
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HICCUP FOR HOME II<\/h3>

Second version of “Hiccup for Home. ” It premiered at Melkweg (Amsterdam) as final work at SNDO. For this occasion, the original one was adapted to the interpreter Ria Higler. While the first version has a more raw quality and theatrical elements are as limited as possible, in this second version some theatrical elements as clothing items, text and character have been introduced, moving in a delicate balance between real and fictitious space.<\/p>

Creation:<\/strong> Diana Gadish<\/p>

Interpretation: <\/strong>Ria Higler, Igor Dobricic<\/p>

Duration:<\/strong> 25 min.<\/p>

Creation year:<\/strong> 2007<\/p>

Coproduction:<\/strong> AHK<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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CRUUU CRUUU Between pure idiocy and the mystical search for identity + info HANDLE WITH CARE HANDLE WITH CARE Boxes that open a shared space + info LUCY LIVE LUCY LIVE An elegantly precarious being + info SHORTS SHORTS Visual and absurd humor + info Archive REQUIEM FOR A LANDSCAPE Requiem for\u00a0a landscape\u00a0is a resulting…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":20,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-21577","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dianagadish.com\/en\/wp-json\/wp\/v2\/pages\/21577","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dianagadish.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dianagadish.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dianagadish.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dianagadish.com\/en\/wp-json\/wp\/v2\/comments?post=21577"}],"version-history":[{"count":19,"href":"https:\/\/dianagadish.com\/en\/wp-json\/wp\/v2\/pages\/21577\/revisions"}],"predecessor-version":[{"id":21963,"href":"https:\/\/dianagadish.com\/en\/wp-json\/wp\/v2\/pages\/21577\/revisions\/21963"}],"wp:attachment":[{"href":"https:\/\/dianagadish.com\/en\/wp-json\/wp\/v2\/media?parent=21577"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}